This article explores the representation of borders and cosmopolitanism in the city of London in “London River”, a film about two parents looking for their children in global city after the 7th of July of 2005 terrorist attacks. As will be argued, different spaces in the city work simultaneously as dividing lines and as borderlands, emphasising the dual nature of borders theorized by border scholars such as Gloria Anzaldúa (1999), Mike Davis (2000) and Anthony Cooper and Christopher Rumford (2011). Elijah Anderson’s (2011) concept of cosmopolitan canopy and Gerard Delanty’s (2006) moments of openness will be used to analyse the articulation of cosmopolitanism in the different constructed spaces displayed in the film.
La Educación Cosmopolita es un enfoque preciso para dar respuesta a los cambios sociales y culturales del siglo XXI. El estudio de la Educación Cosmopolita ha sido objeto de investigación en las últimas décadas con autores como Martha Nussbaum (1997), Thomas Popkewitz (2009) y David Hansen (2011). Este enfoque educativo ha surgido como un nuevo paradigma para dar respuesta a los desafíos de la globalización dentro de las escuelas. La intención de la Educación Cosmopolita es proliferar la apertura reflexiva y crear un vínculo emocional hacia el Otro, otras culturas y la diversidad. El uso de Educación Cosmopolita en el aula facilita la comprensión de la diferencia, un ambiente de aceptación e igualdad, al tiempo que prepara a los estudiantes para la vida fuera de las escuelas.
This article explores the representation of borders and cosmopolitanism in the film Tinker Bell and the Secret of the Wings (2012), the fourth title in the Disney fairies franchise. The film tells the story of a world divided into two territories, the Winter Woods and Pixie Hollow. A ban on cross-border mobility prohibits any kind of interaction between the inhabitants of the two worlds. Tinker Bell, the main character in the film, feels the urge to break the law and cross to the other side, where she meets her twin sister and finds out the reason for the ban. Tinker Bell and the Secret of the Wings is a border film that deals with the processes of border construction and dissolution while also highlighting the potential, and some of the risks, of the dismantling of borders. This article analyses the film’s use of different spaces that, in line with the dual nature of borders theorised by, among others, Gloria Anzaldúa, work simultaneously as dividing lines and borderlands. Gerard Delanty’s concept of cosmopolitan moments is used to analyse the articulation of cross-border relationships in the film.
This paper analyses the Walt Disney’s animation film Zootopia (2016) within the context of contemporary cinematic representations of global cities as borderlands but also as bordering, exclusive, diverse and cosmopolitan places. Zootopia is a film about the city space, in this case, about the global city of Zootopia. The film reflects contemporary global cities in which the negotiation of space is a constant issue. It portrays a modern metropolis formed by different neighbourhoods with contrasting habitats such as Sahara, Jungle or Tundra, all comprised in the same space and separated by physical walls. Animals from every environment, size and form cohabit together in the city, but physical and metaphorical borders are erected between them. The film brings an inclusive message breaking with borders inside the global city and portraying moments of openness between the protagonists; a bunny and a fox
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