
Border Visions
Description
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Border Visions: Identity and Diaspora in Film offers an overview of global cinema that addresses borders as spaces of hybridity and change. In this collection of essays, contributors examine how cinema portrays conceptions of borderlands informed by knowledge, politics, art, memory, and lived experience, and how these constructions contribute to a changing global community. These essays analyze a variety of international feature films and documentaries that focus on the lives, cultures, and politics of borderlands. The essays discuss the ways in which conflicts and their resolutions occur in borderlands and how they are portrayed on film. The volume pays special attention to contemporary Europe, where the topic of shifting border identities is one of the main driving forces in the processes of European unification.
Among the filmmakers whose work is discussed in this volume are Fatih Akin, Montxo Armendàriz, Cary Fukunaga, Christoph Hochhäusler, Holger Jancke, Emir Kusturica, Laila Pakalnina, Alex Rivera, Larissa Shepitko, Andrea Staka, Elia Suleiman, and István Szabó. A significant contribution to the dialogue on global cinema, Border Visions will be of interest to students and scholars of film, but also to scholars in border studies, gender studies, sociology, and political science.
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Persons
Karen Ritzenhoff is professor in the Department of Communication at Central Connecticut State University. She is the coeditor of Sex and Sexuality in a Feminist World (2009) and Screening the Dark Side of Love: From Euro-Horror to American Cinema (2012).
Cynthia J. Miller (Emerson College) is the series editor for Scarecrow Press's Film and History series. She is the editor of Too Bold for the Box Office: The Mockumentary, From Big Screen to Small (2012) and coeditor of Undead in the West: Vampires, Zombies, Mummies and Ghosts on the Cinematic Frontier and Steaming into a Victorian Future: A Steampunk Anthology (2012), all published by Scarecrow Press.
Content
- Intro
- Contents
- Foreword: On Love-On Borders
- Acknowledgments
- Introduction
- Part I: UTOPIAS AND DYSTOPIAS: BORDER VISIONS AND ALTERNATIVE (HIS/HER)STORIES
- Chapter 1. Imaginal Border Crossings and Silence as Negative Mimesis in Elia Suleiman's Divine Intervention (2002)
- Chapter 2. Underground Bridges: Tunnels in the Films of Emir Kusturica-Underground (1995) and Life Is a Miracle (2004)
- Chapter 3. Aquaterrorists and Cybraceros: The Dystopian Borderlands of Alex Rivera's Sleep Dealer (2008)
- Part II: FROM THE CENTER TO THE MARGINS: IDEOLOGICAL DOMINANCE AND LIMINAL SPACES
- Chapter 4. An Empire of Borders: Central European Boundaries in István Szabó's Colonel Redl (1985)
- Chapter 5. Icons, Landscape, and the Boundaries of Good and Evil: Larisa Shepitko's The Ascent (1977)
- Chapter 6. Negotiating a New Europe: Laila Pakalnin,a's The Bus (2004) and Transnational Landscapes
- Part III: VANISHED BORDERS: MEMORY, NOSTALGIA, AND HOMESICKNESS
- Chapter 7. Zurich Roses: Andrea Staka's Das Fräulein (2006)
- Chapter 8. A Scar That Vanished: Recollections of the Inner-German Border in German Nonfiction Film
- Chapter 9. The Use of Music in Turkish-German Diasporic Cinema
- Part IV: GROWING UP ON THE ROAD: CROSSING BORDERS AND IDENTITY FORMATION
- Chapter 10. Heating Up: Border Crossing and Identity Formation in Fatih Akin's In July (2000)
- Chapter 11. Lost Children: Images of Childhood on the German-Polish Border in Christoph Hochhäusler's This Very Moment (2003) and Robert Glin´ski's Piggies (2009)
- Chapter 12. Orphans, Violence, and Identity: Transnational Travel in Cary Fukunaga's Sin Nombre (2009), Denis Villeneuve's Incendies (2010), and François Dupeyron's Monsieur Ibrahim (2003)
- Part V: NARRATIVE TRANSGRESSIONS: CROSSING GENRES AND BORDER CROSSINGS
- Chapter 13. What the Images Cannot Show: The Letters in Montxo Armendáriz's Letters from Alou (1990)
- Chapter 14. Reflections on China and Border Crossings in Jia Zhang-ke's Unknown Pleasures (2002) and Still Life (2006)
- Chapter 15. Border Imaging: Revealing the Gaps between the Reality, the Representation, and the Experience of the Border
- Index
- About the Editors and Contributors
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