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-induced deterritorialisation, while examining the articulation of bodies as maps and as the physical and textual repositories of colonial and patriarchal violence. Here, bodies are also explored as cyphers disorientating national and diasporic Arab and Islamicate gender and sexual expectations. A Map of Home ’s first-person viewpoint conveys a sense of urgency about the self-validation of queer bodies in both literal and symbolic ways. In order to understand the multiple connections between Jarrar’s diasporic experiences and her fiction, it is necessary to have a
which oppose human and animal, and suggest liberatory bodily relations and practices beyond the human. As Deleuze and Guattari write, becoming-animal ‘under mines the great molar powers of family, career and conjugality’, it is ‘an irresistible deterritorialisation that forestalls attempts at profes sional, conjugal or Oedipal reterritorialisation’ (2004, 257). It is, as in Pescados, a movement from the individual to the multiple: it ‘always 116 The cinema of Lucrecia Martel involves […] a multiplicity’ or ‘modes of expansion, propagation, occupation, contagion
) and the periphery (Brazilian film). 16 Canclini’s work on ‘deterritorialisation’ and intercultural movements across the US–Mexican border is particularly useful in the context of Latin American re-workings of Hollywood paradigms. He analyses hybrid and simulated cultural products in the context of the border experience in cities like Tijuana, and argues that the home-grown version becomes a resource for
with films considered to be ‘Spanish’ or exemplary of Spain’s national cinema. Ironically, Smoking Room , with its blatant absence of identifiable generic markers, shares this sense of displacement, dislocation and deterritorialisation with Airbag , considered un-Spanish precisely because of its integration of genres specifically considered ‘Hollywood’. Interestingly, the
in Tacones lejanos ultimately has to do with the fact that Rebeca and Becky are ‘perpetually out of phase; they cannot bring voice and body together in the same, present, space of desire’ ( 2004 : 279). Tacones lejanos proves to be a maternal melodrama deeply infused with a sense of deterritorialisation. Almodóvar thus provides a global landscape increasingly determined by deterritorialisation
destin address the topic head on. Their different but complementary strategies aim to defuse hostility to Islam on the part of a majority audience and distance the Islamic community in France from terrorism in Algeria. Whereas the set of films discussed above were organised through narratives of displacement and deterritorialisation, these two films both focus on a more settled multi-ethnic/immigrant community. 100% Arabica (1997) and La Nuit
It’s by now accepted that a delimited scope on the nation as the organising principle in film and media studies is inadequate to account for the constantly shifting landscapes in which film and media are made, distributed and consumed. In the current period of globalisation and mobile capital, deterritorialisation and resettlement, and migrations imagined and real, a shift
‘tú nunca ves’ (you never see) in which there are people working hard, from sun up to sun down, for a better future. ‘Cansados’ similarly deals with the theme of frustration with the lack of options and people’s pragmatic need to take whatever solution presents itself – without looking back. After all, Ruy sings, ‘money is short, and rock and roll is expensive.’ The de-territorialisation resulting from Cuba
-creation, a nihilistic rebellion that lapses into the black hole of what Deleuze and Guattari call ‘déterritorialisation’ fdeterritorial-isation’) at too fast a rate. It matters little whether or not Carax has as his primary intention a critique of contemporary bourgeois French society; what does matter is that this film sets up internal localised circuits of becoming. The set pieces such as the counter-celebration on the bridge in
transnational auteurs favoured on the international festival circuit.25 Despite these global resonances, Martel’s features retain an intensely local flavour, attesting to the tastes of international art-house and festival audiences for local and ‘authentic’ slices of Latin American life, and suggesting the production of Latin Americanness for foreign consumption as a feature of the contemporary deterritorialisation of cultural production. Whilst the films avoid concrete references to specific places,26 Martel’s home province of Salta provides a semi-im aginary geography