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Migrants' Perspectives, Migrants in Perspective : World Cinema / Nicole Beth Wallenbrock, Frank Jacob.

By: Contributor(s): Material type: TextTextPublisher: Edinburgh : Edinburgh University Press, [2022]Copyright date: ©2021Description: 1 online resource (272 p.) : 20 colour illustrationsContent type:
Media type:
Carrier type:
ISBN:
  • 9781474456760
  • 9781474456784
Subject(s): DDC classification:
  • 791.436526912 23
LOC classification:
  • PN1995.9.E44 M54 2021
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- CONTENTS -- FIGURES -- 1. MIGRANTS’ PERSPECTIVES, MIGRANTS IN PERSPECTIVE: WORLD CINEMA, AN INTRODUCTION -- PART I MIGRANTS’ PERSPECTIVE -- 2. MIGRANTS AND REFUGEES IN MOVING IMAGE CONTEMPORARY ART: GHAZEL’S “HOME (STORIES)” (2008) AND BOUCHRA KHALILI’S “THE MAPPING JOURNEY PROJECT” (2008–11) -- 3. FORCED MIGRATION AND FANTASIES OF RETURN IN PALESTINIAN CINEMA: WHEN I SAW YOU (ANNEMARIE JACIR, 2012) AND GATE OF THE SUN (YOUSRY NASRALLAH, 2003) -- 4. DISPLACEMENT AND THE VICISSITUDES OF PAN-ARABISM: BETWEEN THE DUPES (TEWFIK SALEH, 1972) AND IN THE LAST DAYS OF THE CITY (TAMER EL SAID, 2016) -- 5. STILL/MOVING: AN ANALYSIS OF RECENT FILMS ABOUT TRANSNATIONAL MIGRATION FROM CENTRAL AMERICA TO THE USA -- 6. JAPANESE IMMIGRANT IDENTITIES ON THE BRAZILIAN SCREEN: GAIJIN: OS CAMINHOS DA LIBERDADE (TIZUKA YAMASAKI, 1983) AND CORAÇÕES SUJOS (VICENTE AMORIM, 2011) -- PART II MIGRANTS IN PERSPECTIVE -- 7. COMMUNITARIAN VERSUS HUMANITARIAN FORCES IN THE DARDENNE BROTHERS’ LA PROMESSE (1996) AND LE SILENCE DE LORNA (2008) -- 8. THIS IS NOT PARADISE AND THE JOURNEY WAS NOT WORTH IT: GLOBALIZATION, FINANCIAL CRISIS, AND THE PORTRAYAL OF THE SUB-SAHARAN IMMIGRANT IN TWO SPANISH FILMS -- 9. MOBILITY CONSTRAINED AND ENABLED BY GENDER: THE IN-TRANSIT AFRICAINE OF HOPE (BORIS LOJKINE, 2014) -- 10. UN/DOCUMENTED MIGRATION IN “BORDERLAND SCHENGEN” -- 11. CIRCULATING IMAGES OF DEATH: FESTIVAL FILMS AND THE SYRIAN REFUGEE CRISIS -- THE CONTRIBUTORS -- INDEX
Summary: Analyses how migrants are portrayed in film from different viewpointsDeciphers the semiotics of migration and its representation in cinemaAnalyses films which depict migration in Africa, the Americas, Europe, and the Middle EastExplores films that transgress mainstream popular currents and instead participate in alternative networks, such as internet, festivals, museums, and art-house circuitsPresenting the depiction of migration through a variety of cinematic outlets, this volume explores film’s depiction of human displacement in different geographic circumstances and probes the reasons why cinema so frequently evokes a stereotype of in-transit people. Techniques of affect and distance are revealed in the contributors’ close film studies of wide-ranging matter which include works by the Dardenne brothers, transnational video artists Ghazel and Bouchra Khalili, and studies of Syrian films at Western festivals.Migrants’ Perspective, Migrants in Perspective: World Cinema deciphers the semiotics of migration and its representation in cinema, exploring both the complications of shooting a migrant subject, and the challenges of including the migrants’ point of view.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781474456784

Frontmatter -- CONTENTS -- FIGURES -- 1. MIGRANTS’ PERSPECTIVES, MIGRANTS IN PERSPECTIVE: WORLD CINEMA, AN INTRODUCTION -- PART I MIGRANTS’ PERSPECTIVE -- 2. MIGRANTS AND REFUGEES IN MOVING IMAGE CONTEMPORARY ART: GHAZEL’S “HOME (STORIES)” (2008) AND BOUCHRA KHALILI’S “THE MAPPING JOURNEY PROJECT” (2008–11) -- 3. FORCED MIGRATION AND FANTASIES OF RETURN IN PALESTINIAN CINEMA: WHEN I SAW YOU (ANNEMARIE JACIR, 2012) AND GATE OF THE SUN (YOUSRY NASRALLAH, 2003) -- 4. DISPLACEMENT AND THE VICISSITUDES OF PAN-ARABISM: BETWEEN THE DUPES (TEWFIK SALEH, 1972) AND IN THE LAST DAYS OF THE CITY (TAMER EL SAID, 2016) -- 5. STILL/MOVING: AN ANALYSIS OF RECENT FILMS ABOUT TRANSNATIONAL MIGRATION FROM CENTRAL AMERICA TO THE USA -- 6. JAPANESE IMMIGRANT IDENTITIES ON THE BRAZILIAN SCREEN: GAIJIN: OS CAMINHOS DA LIBERDADE (TIZUKA YAMASAKI, 1983) AND CORAÇÕES SUJOS (VICENTE AMORIM, 2011) -- PART II MIGRANTS IN PERSPECTIVE -- 7. COMMUNITARIAN VERSUS HUMANITARIAN FORCES IN THE DARDENNE BROTHERS’ LA PROMESSE (1996) AND LE SILENCE DE LORNA (2008) -- 8. THIS IS NOT PARADISE AND THE JOURNEY WAS NOT WORTH IT: GLOBALIZATION, FINANCIAL CRISIS, AND THE PORTRAYAL OF THE SUB-SAHARAN IMMIGRANT IN TWO SPANISH FILMS -- 9. MOBILITY CONSTRAINED AND ENABLED BY GENDER: THE IN-TRANSIT AFRICAINE OF HOPE (BORIS LOJKINE, 2014) -- 10. UN/DOCUMENTED MIGRATION IN “BORDERLAND SCHENGEN” -- 11. CIRCULATING IMAGES OF DEATH: FESTIVAL FILMS AND THE SYRIAN REFUGEE CRISIS -- THE CONTRIBUTORS -- INDEX

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Analyses how migrants are portrayed in film from different viewpointsDeciphers the semiotics of migration and its representation in cinemaAnalyses films which depict migration in Africa, the Americas, Europe, and the Middle EastExplores films that transgress mainstream popular currents and instead participate in alternative networks, such as internet, festivals, museums, and art-house circuitsPresenting the depiction of migration through a variety of cinematic outlets, this volume explores film’s depiction of human displacement in different geographic circumstances and probes the reasons why cinema so frequently evokes a stereotype of in-transit people. Techniques of affect and distance are revealed in the contributors’ close film studies of wide-ranging matter which include works by the Dardenne brothers, transnational video artists Ghazel and Bouchra Khalili, and studies of Syrian films at Western festivals.Migrants’ Perspective, Migrants in Perspective: World Cinema deciphers the semiotics of migration and its representation in cinema, exploring both the complications of shooting a migrant subject, and the challenges of including the migrants’ point of view.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 29. Mai 2023)