Ana Virginia López Fuentes
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Borders and cosmopolitanism in the global city
London River
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The increasing mobility of people, goods and information around the globe has resulted in an increasingly interconnected world with a high potential for cosmopolitan encounters. Both dividing lines and borderlands have the potential to either curtail or promote cosmopolitan moments of self-transformation. So-called ‘border films’ structure their narratives around different types of borders, usually highlighting their paradoxical nature. This chapter looks at London River as an example of a border film that can be inscribed within the category of ‘cultural exchange’ narrative as theorised by Deborah Shaw, Tom O’Regan and others. The film tells the story of two parents: Ousmane, a black Muslim from Mali, and Elisabeth, a white protestant from the Channel Islands, looking for their children in the city of London after the 7th July terrorist attacks. The narrative crosses various geographical borders and was filmed in different locations: France, London and one of the Channel Islands. It was a French–British co-production and it features a multinational cast and crew, including a French director of Algerian origin working in the city of London. This chapter looks at the film’s representation of today’s extremely complex borders, in society in general and particularly in global cities. As argued in the chapter, the movie constructs different spaces of the city of London as both dividing lines and as borderlands, emphasising the dual nature of borders theorised by border scholars such as Gloria Anzaldúa, Mike Davis and Anthony Cooper and Christopher Rumford. London River is an accurate representation of the complex social networks occurring in large cities all over the world.

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Global London on screen

Visitors, cosmopolitans and migratory cinematic visions of a superdiverse city


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