Marks explores Deleuzian cinema theory as a way to think about hybrid and/or experimental cinema that engages the topics of diaspora. Using this cinematic genre enables Marks to explore the collective dimensions of memory and perception from which Deleuze politicizes his writing on film. Marks relates the Deleuzian concept of post-WWII "time-space cinema" with its reliance on "any-spaces-whatever" as sites for the camera's eye, to the simultaneous postcolonial and migrant moment in Europe. Marks analyses how several artists represent diasporic histories characterized by the intersection and disjunction between private and public memory.