Building on scholarship concerning migration and exile, this chapter deploys
the figure of the stranger in reading solo works in and around the border
regimes of the UK and EU. If – as Sara Ahmed suggests – stranger recognition
involves (often unmarked) assumptions about which bodies belong and which
are out of place, performance interventions in and around border regimes
bring such beliefs to light while demonstrating how misrecognition and
uncertainty are preserved as technologies of control. Though associated with
cosmopolitan fantasies of mobility and hospitality, the stranger allows us
to follow how a selective distribution of legitimacy serves to limit access
to Western Europe’s territories of wealth. Featured practitioners: Kay
Adshead, Zodwa Nyoni, Oreet Ashery, Nassim Soleimanpour, Tanja Ostojić.
As moving pictures became a reality during 1895-6, Europe's crowned heads discovered the new medium and what it could do for their image. The earliest royal films made in Britain showed Victoria's extended family with a new informality, and were eagerly viewed by their subjects. However, it was the staging of Victoria's 1897 Diamond Jubilee as a vast procession through London, filmed by 18 companies whose products were distributed throughout Britain and the distant territories of the Empire, that showed how powerfully film could project the monarchy in a new way - immediate, accessible and impressive. Victoria's successors, her sons Edward and George, came to the throne having grasped the potential of film. Meanwhile, two of her relations Kaiser Wilhelm and Tsar Nicholas, were also the subjects of early filming Nicholas's coronation in 1896 was the first such event to be recorded on film, but a record of the disaster that followed, when thousands were killed in a crowd panic, was quickly suppressed. Nicholas would remain suspicious of film as a mass medium, while enjoying it as a private family record, until he gave permission for a film to celebrate the tercentenary of the Romanov dynasty in 1913 - the same year that a full-scale acted tribute to Victoria, Sixty Years a Queen, appeared.