Immigration Cinema in the New Europe , livre ebook

Intellect Books - Isolina Ballesteros

Découvre YouScribe en t'inscrivant gratuitement

Je m'inscris

Obtenez un accès à la bibliothèque pour le consulter en ligne
En savoir plus

218 pages

English

Vous pourrez modifier la taille du texte de cet ouvrage

Obtenez un accès à la bibliothèque pour le consulter en ligne
En savoir plus

A propos
Informations
Extrait

Description

Immigration Cinema in the New Europe examines a variety of films from the early 1990s that depict and address the lives and identities of both first generation immigrants and children of the diaspora in Europe. Whether they are authored by immigrants themselves or by white Europeans who use the resources and means of production of dominant cinema to politically engage with the immigrants’ predicaments, these films, Isolina Ballesteros shows, are unmappable – a condition resulting from immigration cinema’s re-combination and deliberate blurring of filmic conventions pertaining to two or more genres. In an age of globalization and increased migration, this book theorizes immigration cinema in relation to notions such as gender, hybridity, transculturation, border crossing, transnationalism and translation.

Chapter 1: Race, Mobile Masculinities, and Class

Chapter 2: Female Transnational Migrations and Diasporas

Chapter 3: Human Trafficking and the Global Sex Slave Trade

Chapter 4: Queer Immigration and Diasporas: Performative Identities, Cross-Dressing Displacement/Assimilation

Chapter 5: The European Family in the Face of Otherness: Family Metaphors and the Redemption of White Guilt

Chapter 6: Border-Crossing Road Movies: Inverted Odysseys and Roads to Dystopia

Chapter 7: Identities In-Between in Diasporic Cinema

Sujets

Película fotográfica

General officer

Television

General

Radio

Film

Cinéma

Cinema

Informations

Publié par	Intellect Books
Date de parution	01 février 2015
Nombre de lectures	1
EAN13	9781783204267
Langue	English

Informations légales : prix de location à la page 0,1792€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

First published in the UK in 2015 by Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2015 by Intellect, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA
Copyright © 2015 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Cover designer: Shin-E Chuah Copy-editor: MPS Technologies Production manager: Claire Organ Typesetting: Contentra Technologies
Print ISBN: 978-1-78320-411-3 ePDF ISBN: 978-1-78320-425-0 ePUB ISBN: 978-1-78320-426-7
Printed and bound by Hobbs, UK
Contents
List of Illustrations
Preface and Acknowledgments
Introduction: Contextualizing Immigration Cinema
Chapter 1: Race, Mobile Masculinities, and Class
Chapter 2: Female Transnational Migrations and Diasporas
Chapter 3: Human Trafficking and the Global Sex Slave Trade
Chapter 4: Queer Immigration and Diasporas: Performative Identities, Cross-Dressing Displacement/Assimilation
Chapter 5: The European Family in the Face of Otherness: Family Metaphors and the Redemption of White Guilt
Chapter 6: Border-Crossing Road Movies: Inverted Odysseys and Roads to Dystopia
Chapter 7: Identities In-Between in Diasporic Cinema
Index of Films
List of Illustrations
Figure 1.1: Angst essen Seele auf/Ali, Fear Eats the Soul by Reiner W. Fassbinder (© 2003 The Criterion Collection) Ali and Emmi at Osteria Italiana
Figure 1.2: Angst essen Seele auf/Ali, Fear Eats the Soul by Reiner W. Fassbinder (© 2003 The Criterion Collection) Ali and Emmi at Bier Garden
Figure 1.3: La faute à Voltaire/Blame It on Voltaire by Abdel Kechiche (© 2005 Warner Home Video) Jallel sells roses
Figure 1.4: La faute à Voltaire/Blame It on Voltaire by Abdel Kechiche (© 2005 Warner Home Video) Jallel is deported
Figure 1.5: Hop by Dominique Standaert (© 2006 Film Movement) Reservoir turns red
Figure 1.6: Hop by Dominique Standaert (© 2006 Film Movement) Neighbors watching the game
Figure 2.1: Inch’Allah dimanche/God Willing, It ’s Sunday (2001) by Yamina Benguigui (© 2003 Film Movement) Returning home by bus
Figure 2.2: Inch’Allah dimanche/God Willing, It ’s Sunday (2001) by Yamina Benguigui (© 2003 Film Movement) Zouina listening to the radio
Figure 2.3: Inch’Allah dimanche/God Willing, It ’s Sunday (2001) by Yamina Benguigui (© 2003 Film Movement) Madame Donze listening to the radio
Figure 2.4: Extranjeras/Foreign Women by Helena Taberna (© 2003 Lamia Producciones Audiovisuals S.L.) Intercultural cuisine
Figure 2.5: Extranjeras/Foreign Women by Helena Taberna (© 2003 Lamia Producciones Audiovisuals S.L.) Taberna with her foreign women
Figure 2.6: Bhaji on the Beach by Gurinder Chadha (© 1993 Channel Four Television Corporation) At the beach
Figure 2.7: Bhaji on the Beach by Gurinder Chadha (© 1993 Channel Four Television Corporation) On the bus
Figure 2.8: Flores de otro mundo/Flowers from Another World by Icíar Bollain (© 1999 Producciones La Iguana-Alta Films, S.A.) Milady on the road
Figure 2.9: J’ai pas sommeil/I Can’t Sleep by Claire Denis (© 1994 Arena Films, Orsans Productions, Pyramide Productions, Les Films de Mindif, France 3 cinema, M6 Films, Agora films S.A. (Munich), Vega Film Productions S. A. (Zurich)) Daïga flâneuse
Figure 3.1: Lilya 4 Ever by Lukas Moodysson (© 2004 Panorama Entertainment) Angels on the roof
Figure 3.2: Transe/Trance by Teresa Villaverde (© 2006 Gémini Films, Madragoa Filmes, Revolver Film) Sonia’s passive resistance
Figure 3.3: The Price of Sex by Mimi Chakarova (© 2011 Mimi Chakarova) Chakarova looking at stills
Figure 3.4: The Price of Sex by Mimi Chakarova (© 2011 Mimi Chakarova) Photo exhibition: “ Sex Trafficking: How It Works ”
Figure 4.1: J’ai pas sommeil/I Can’t Sleep by Claire Denis (© 1994 Arena Films, Orsans Productions, Pyramide Productions, Les Films de Mindif, France 3 cinema, M6 Films, Agora films S.A. (Munich), Vega Film Productions S. A. (Zurich)) Camille’s performance
Figure 4.2: Lola und Bilidikid by Kutlug Ataman (© 2003 Millivres Multimedia) Gastarbeiters’ performance
Figure 4.3: Lola und Bilidikid by Kutlug Ataman (© 2003 Millivres Multimedia) Murat watching the Gastarbeiters’ performance
Figure 4.4: Princesa/Princess by Henrique Goldman (© 2002 Strand Releasing) Princesa by streetcar
Figure 5.1: Poniente/West by Chus Gutiérrez (© 2002 Amboto Audivisual S.L. & Olmo Films S.L.) Burning Koran
Figure 5.2: Poniente/West by Chus Gutiérrez (© 2002 Amboto Audivisual S.L. & Olmo Films S.L.) Plastic
Figure 5.3: Poniente/West by Chus Gutiérrez (© 2002 Amboto Audivisual S.L. & Olmo Films S.L.) Exodus
Figure 5.4: Flores de otro mundo/Flowers from Another World by Icíar Bollain (© 1999 Producciones La Iguana-Alta Films, S.A.) Family picture
Figure 5.5: La promesse/The Promise by Jean Pierre and Luc Dardenne (© 2001 New Yorker Films Artwork) Singing
Figure 5.6: La promesse/The Promise by Jean Pierre and Luc Dardenne (© 2001 New Yorker Films Artwork) Roger in chains
Figure 5.7: La promesse/The Promise by Jean Pierre and Luc Dardenne (© 2001 New Yorker Films Artwork) Igor tells Assita about Amidou’s death
Figure 5.8: Caché/Hidden by Michael Haneke (© 2006 Sony Pictures Classics) House under surveillance
Figure 5.9: Cach é/Hidden by Michael Haneke (© 2006 Sony Pictures Classics) Drawing
Figure 5.10: Caché/Hidden by Michael Haneke (© 2006 Sony Pictures Classics) School entrance
Figure 5.11: Le Havre by Ari Kaurismäki (© 2012 The Criterion Collection) Boat people
Figure 5.12: Le Havre by Ari Kaurismäki (© 2012 The Criterion Collection) Max and Idrissa
Figure 6.1: Retorno a Hansala/Return to Hansala by Chus Gutiérrez (© 2008 Muac Films-Maestranla Film) Martin’s nightmare of drowned bodies
Figure 6.2: Retorno a Hansala/Return to Hansala by Chus Gutiérrez (© 2008 Muac Films-Maestranla Film) Martin and Leyla with hanging clothes
Figure 6.3: In This World by Michael Winterbottom (© 2004 Sundance Channel LLC) Jamal and Enayat on truck
Figure 6.4: In This World by Michael Winterbottom (© 2004 Sundance Channel LLC) Map and truck
Figure 6.5: 14 kilómetros by Gerardo Olivares (© 2008 Cameo Media SL) Overloaded truck
Figure 6.6: Eden à L’Ouest/Eden Is West by Costa-Gavras (© 2009 Cameo Media SL) Elias on the road
Figure 6.7: Eden à L’Ouest/Eden Is West by Costa-Gavras (© 2009 Cameo Media SL) Elias lighting the Eiffel Tower
Figure 7.1: L’esquiv e/Games of Love and Chance by Abdel Kechiche (© 2003 Lola Films-Noé Productions/2006 New Yorker Films Artwork) Krimo Reads Marivaux’s play
Figure 7.2: L’esquive/Games of Love and Chance by Abdel Kechiche (© 2003 Lola Films-Noé Productions/2006 New Yorker Films Artwork) Krimo watches the performance
Figure 7.3: Entre les murs/The Class by Laurent Cantet (© 2008 Sony Pictures Classics) In the classroom
Figure 7.4: My Beautiful Laundrette by Stephen Frears (© 1885 Channel Four Television Company, Ltd. Design © 2003 MGM Home Entertainment LLC) Omar and Johnny at the launderette’s back office
Figure 7.5: My Beautiful Laundrette by Stephen Frears (© 1885 Channel Four Television Company, Ltd. Design © 2003 MGM Home Entertainment LLC) Omar and Johnny before the launderette’s opening
Figure 7.6: Bend It Like Beckham by Gurinder Chadha (© 2003 20th Century Fox Home Entertainment Inc.) Jules’ and Jess’ public display of affection
Figure 7.7: Bend It Like Beckham by Gurinder Chadha (© 2003 20th Century Fox Home Entertainment Inc.) Jules and Jess on the field
Figure 7.8: Nina’s Heavenly Delights by Pratibha Parmar (© 2007 Regent Releasing) Televised coming out
Figure 7.9: Gegen die Wand/Head On by Fatih Akin (© 2004 Bavaria GmbH. Artwork & Design © 2005 Strand Releasing) Selim Sesler and Turkish gipsy orchestra by the Bosphorus
Figure 7.10: Auf der anderen Seite/The Edge of Heaven by Fatih Akin (© 2007 Corazón International. Artwork and Design © 2008 Strand Releasing) Nejat waiting for his father
Preface and Acknowledgments
My interest in the subject of immigration and its cinematic representations grew out of a combination of personal and professional reasons. As a white Hispanic and European living and working in the United States since 1986, I share with the objects of my study the in-betweenness, double consciousness, and perpetual transience that result from belonging to two different cultural spaces and two linguistic codes. Like many of the characters in the films I include in this book, I have a merged border and bicultural identity. Although I assume my identity in all its diversity, on occasions I still see myself as the stranger; I recognize in myself the impossibility of fully assimilating to my adopted culture because of an accented identity that will forever mark me as a foreigner, destined to be an outsider, feeling fully at home in neither the homeland nor the host land.
Empathy and self-reflection were indeed important motivations as I directed my attention to a multiplicity of immigration tales and progressively made them my primary subject of study for over a decade. The seed of this project, which centers on immigration to Europe, can be found in a previous academic book project in which I explored the evolution of socially conscious cinema made in Spain from the end of the dictatorship (1975) to the early 2000s. One of the (ins)urgent topics documented by Spanish filmmakers in the early 1990s, which I addressed in one of that book’s chapters, was the then-still-scarce phenomenon of immigration to Spain. In fact, immigration had become part of the Spanish government’s immigration agenda only in 1985, after the country was admitted to the European Community (EC) and was asked to conform to EC legislation that sought to restrict non-EC citizen imm