Walls and fortresses: borderscapes and the cinematic imaginary

Mendes, Ana Cristina; Sundholm, John

doi:10.1080/20403526.2015.1073490

Cited by 7 publications

(3 citation statements)

References 3 publications

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“…Probing into similar themes of power, Casaglia (2020) discusses pornographic online series filmed and produced in the U.S., Border Patrol Sex and Latina Patrol, unpacking narratives associated with videos of young women described as 'illegal' Latino migrants "who are offered or forced into sex by patrol guards as an alternative to deportation" (p. 2). While these approaches contribute to growing critical scrutiny of border zone representations in movies and TV (Mendes & Sundholm, 2015;Shapiro, 2015), Koskela (2010) placed the emphasis on the equally political dimensions of Texas's Virtual Border Watch Programme, which provides real-time videos from the U.S.-Mexico border and invites thinking about "how interactive online watching has expanded the existence of borders to be located at any observer's home" (p. 119). Lybecker et al (2018) similarly invite researchers to pay sharper attention to how visual narratives floating online, particularly on YouTube, contribute to the social construction of borders and borderlands.…”

Section: Hegemonic Video Representations Of Border Zones Have Attract...mentioning

confidence: 99%

The aesthetic turn in border studies: Visual geographies of power, contestation and subversion

Moze

Spiegel

2022

Geography Compass

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In recent years, critical border studies have developed sophisticated concepts and methodologies for exploring the multifaceted spatialities, sociologies and temporalities of contemporary borders. In this article, we consider how the “aesthetic turn” that has gained prominence in the scholarship can further inform thinking in border studies. Specifically, we focus on the role of the visual in the construction as well as subversion of borders, suggesting possible avenues for future critical aesthetics‐engaged research on COVID‐19 era border reconfigurations. To do so, we first briefly outline the theoretical evolution of border studies, paying attention to recent conceptualisations of borders as dynamic processes of social and spatial differentiation. We then build on the borderscapes concept to unpack research on border aesthetics, with particular attention to the heterogeneous roles played by visual objects such as maps, photographs and videos in shaping both hegemonic and counter‐hegemonic processes of bordering. Finally, we bring these contributions into discussion with recent insights on the COVID‐19 pandemic, sketching several ways to advance aesthetic concepts and methodologies in academic research on borderscapes that are emerging with, and will likely outlast, the pandemic. We suggest that border studies and affiliated sub‐fields can gain useful insights from attending more explicitly and robustly to dynamic visual geographies of power, contestation and subversion.

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Section: Hegemonic Video Representations Of Border Zones Have Attract...mentioning

confidence: 99%

The aesthetic turn in border studies: Visual geographies of power, contestation and subversion

Moze

Spiegel

2022

Geography Compass

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“…Both dividing lines and borderlands, they have the potential to either curtail or promote cosmopolitan moments of self-transformation. The so-called "border films" structure their narratives around different types of borders, usually highlighting their paradoxical nature (Mendes and Sundholm 2015;Deleyto 2015Deleyto , 2016 This article looks at London River (Rachid Bouchareb 2009) as an example of a border film that can be inscribed within the category of "cultural exchange" narrative as theorized by Deborah Shaw (2013), Tom O'Regan (1999), and others. The film tells the story of two parents; Ousmane (Sotigui Kouyaté), a black Muslim from Mali and Elisabeth (Brenda Blethyn), a white protestant from the Channel Islands, looking for their children in the city of London after the 7 th July terrorist attacks.…”

Section: Introductionmentioning

confidence: 99%

Borders and cosmopolitanism in the global city: “London River”

Fuentes

2018

J. engl. stud. (Logroño, internet)

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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.

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“…For two years the ship became the improbable home for a thousand Bosnians as they waited for the outcome of their asylum application. Conbining original VHS material recorded by the inhabitants of the Flotel, Tomic portrays the angst and joy of his adolescent years in the ship, as well as the different stories of the community who shared "the archipelago of exception"(Mendes and Sundholm 2015) with him. Attending to the cinematics imaginaries…”

mentioning

confidence: 99%