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The Figure of the Migrant in Contemporary European Cinema explores contemporary debates around the concepts of 'Europe' and 'European identity' through an examination of recent European films dealing with various aspects of globalization (the refugee crisis, labour migration, the resurgence of nationalism and ethnic violence, neoliberalism, post-colonialism) with a particular attention to the figure of the migrant and the ways in which this figure challenges us to rethink Europe and its core Enlightenment values (citizenship, justice, ethics, liberty, tolerance, and hospitality) in a post-national context of ephemerality, volatility, and contingency that finds people desperately looking for firmer markers of identity. The book argues that a compelling case can be made for re-orienting the study of contemporary European cinema around the figure of the migrant viewed both as a symbolic figure (representing post-national citizenship, urbanization, the 'gap' between ethics and justice) and as a figure occupying an increasingly central place in European cinema in general rather than only in what is usually called 'migrant and diasporic cinema'. By drawing attention to the structural and affective affinities between the experience of migrants and non-migrants, Europeans and non-Europeans, Trifonova shows that it is becoming increasingly difficult to separate stories about migration from stories about life under neoliberalism in general
This exciting and original volume offers the first comprehensive critical study of the recent profusion of European films and television addressing sexual migration and seeking to capture the lives and experiences of LGBTIQ+ migrants and refugees. Queering the Migrant in Contemporary European Cinema argues that embodied cinematic representations of the queer migrant, even if at times highly ambivalent and contentious, constitute an urgent new repertoire of queer subjectivities and socialities that serve to undermine the patrolled borders of gender and sexuality, nationhood and citizenship, and refigure or queer fixed notions and universals of identity like ‘Europe’ and national belonging based on the model of the family. At stake ethically and politically is the elaboration of a ‘transborder’ consciousness and aesthetics that counters the homonationalist, xenophobic and homo/trans-phobic representation of the ‘migrant to Europe’ figure rooted in the toxic binaries of othering (the good vs bad migrant, host vs guest, indigenous vs foreigner). Bringing together 16 contributors working in different national film traditions and embracing multiple theoretical perspectives, this powerful and timely collection will be of major interest to both specialists and students in Film and Media Studies, Gender and Queer Studies, Migration/Mobility Studies, Cultural Studies, and Aesthetics.
This collection brings together international experts on the cinema of migration and diaspora in postcolonial and postnational Europe. It offers a comprehensive theoretical and analytical discussion of a highly productive creative sector and documents the spectrum of this area of exploration in European, transnational and World Cinema studies.
From hairdressers and caregivers to reproductive workers and power-suited executives, images of women's labor have powered a fascinating new movement within twenty-first-century European cinema. Social realist dramas capture precarious working conditions. Comedies exaggerate the habits of the global managerial class. Stories from countries battered by the global financial crisis emphasize the patriarchal family, debt, and unemployment. Barbara Mennel delves into the ways these films about female labor capture the tension between feminist advances and their appropriation by capitalism in a time of ongoing transformation. Looking at independent and genre films from a cross-section of European nations, Mennel sees a focus on economics and work adapted to the continent's varied kinds of capitalism and influenced by concepts in second-wave feminism. More than ever, narratives of work put female characters front and center--and female directors behind the camera. Yet her analysis shows that each film remains a complex mix of progressive and retrogressive dynamics as it addresses the changing nature of work in Europe.
This study explores the representation of international migration on screen and how it has gained prominence and salience in European filmmaking over the past 100 years. Using Polish migration as a key example due to its long-standing cultural resonance across the continent, this book moves beyond a director-oriented approach and beyond the dominant focus on postcolonial migrant cinemas. It succeeds in being both transnational and longitudinal by including a diverse corpus of more than 150 films from some twenty different countries, of which Roman Polański’s The Tenant, Jean-Luc Godard’s Passion and Krzysztof Kieślowski’s Trois couleurs: Blanc are the best-known examples. Engaging with contemporary debates on modernisation and Europeanisation, the author proposes the notion of “close Otherness” to delineate the liminal position of fictional characters with a Polish background. Polish Migrants in European Film 1918-2017 takes the reader through a wide range of genres, from interwar musicals to Cold War defection films; from communist-era exile right up to the contemporary moment. It is suitable for scholars interested in European or Slavic studies, as well as anyone who is interested in topics such as identity construction, ethnic representation, East-West cultural exchanges and transnationalism.
This title raises issues that question European culture and the nature of national cinema, including: the cultural relationship with Hollywood, debates over cultural plurality and diversity; and postcolonial travels and the hybridization of the national formation.
Ecology and Contemporary Nordic Cinemas uses a range of analytical approaches to interrogate how the traditional socio-political rhetoric of national cinema can be rethought through ecosystemic concerns, by exploring a range of Nordic films as national and transnational, regional and local texts--all with significant global implications. By synergizing transnational theories with ecological approaches, the study considers the planetary implications of nation-based cultural production.
Through the concepts of the ‘coloniality of asylum’ and ‘solidarity as method’, this book links the question of the state to the one of civil society; in so doing, it questions the idea of ‘autonomous politics’, showing how both refugee mobility and solidarity are intimately marked by the coloniality of asylum, in its multiple ramifications of objectification, racialisation and victimisation. Taking an interdisciplinary approach, The Coloniality of Asylum bridges border studies with decolonial theory and the anthropology of the state, and accounts for the mutual production of ‘refugees’ and ‘Europe’. It shows how Europe politically, legally and socially produces refugees while, in turn, through their border struggles and autonomous movements, refugees produce the space of Europe. Drawing on ethnographic fieldwork conducted in Hamburg in the wake of the 2015 ‘long summer of migration’, the book offers a polyphonic account, moving between the standpoints of different subjects and wrestling with questions of protection, freedom, autonomy, solidarity and subjectivity.
This groundbreaking volume for the Thinking Cinema series focuses on the extent to which contemporary cinema contributes to political and philosophical thinking about the future of Europe's core Enlightenment values. In light of the challenges of globalization, multi-cultural communities and post-nation state democracy, the book interrogates the borders of ethics and politics and roots itself in debates about post-secular, post-Enlightenment philosophy. By defining a cinema that knows that it is no longer a competitor to Hollywood (i.e. the classic self-other construction), Elsaesser also thinks past the kind of self-exoticism or auto-ethnography that is the perpetual temptation of such a co-produced, multi-platform 'national cinema as world cinema'. Discussing key filmmakers and philosophers, like: Claire Denis and Jean-Luc Nancy; Aki Kaurismäki, abjection and Julia Kristeva; Michael Haneke, the paradoxes of Christianity and Slavoj Zizek; Fatih Akin, Alain Badiou and Jacques Rancière, Elsaesser is able to approach European cinema and assesses its key questions within a global context. His combination of political and philosophical thinking will surely ground the debate in film philosophy for years to come.
Mobility and Migration in Film and Moving Image Art explores cinematic and artistic representations of migration and mobility in Europe from the 1990s to today. Drawing on theories of migrant and diasporic cinema, moving-image art, and mobility studies, Bayraktar provides historically situated close readings of films, videos, and cinematic installations that concern migratory networks and infrastructures across Europe, the Middle East, and Africa. Probing the notion of Europe as a coherent entity and a borderless space, this interdisciplinary study investigates the ways in which European ideals of mobility and fluidity are deeply enmeshed with forced migration, illegalization, and xenophobia. With a specific focus on distinct forms of mobility such as labor migration, postcolonial migration, tourism, and refugee mobilities, Bayraktar studies the new counter-hegemonic imaginations invoked by the work of filmmakers such as Ayşe Polat, Fatih Akin, Michael Haneke, and Tony Gatlif as well as video essays and installations of artists such as Kutluğ Ataman, Ursula Biemann, Ergin Çavuşoğlu, Maria Iorio and Raphaël Cuomo. Challenging aesthetic as well as national, cultural, and political boundaries, the works central to this book envision Europe as a diverse, inclusive, and unfixed continent that is reimagined from many elsewheres well beyond its borders.