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regularly reflect on apparent epistemic certainties represented by political elites in many parts of the world. I seek approaches to research that foreground intersectional experiences of inequality. In the same vein, Rachel Lewis’s work on female migrants in London has been shaped by her personal experience of migration; although a privileged one, it has still drawn her attention to precariousness and displacement. Her testimony accounts for the deterritorialisation of hierarchies of observers, the dichotomy between internal and external actors. She says: My own
transformation its sonic radicalism implied? Gilbert has argued that though club cultures like rave and jungle offered the possibility of ‘the deterritorialisation of certain kinds of subjectivity – and the potentiation of radical new modes of collective desire’, these processes are all too easily ‘reterritorialised by new figures of sexualised and commodified identity’ (Gilbert 2007: 7). In this writing about the possibilities of music cultures to offer new alternatives, melancholy is 234 London.indb 234 04/10/2019 12:00:20 Epilogue: music and the multicultural city the
) 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
colonialism, the planned, as well as spontaneous and derelict, deterritorialisation of Native Americans who were forcibly dislocated to reserves on so-called Indian Land. 1 As this chapter will argue, contemporary Indigenous artists have in recent decades consciously retraced the paths that such missionaries, settlers, and ethnographers travelled across the Atlantic. In ironic and satirical gestures they swap the positions of European explorer and Indigenous subjects, and in doing so reverse the colonial current’s direction. Yet beyond that, one might ask to what extent
lingering notions of national chauvinism, has an approach to peace and peacebuilding unlike any other. Out of a history of territorial nationalism Europe has fashioned a hugely successful (both in historical and contemporary contexts) project of liberalisation, demilitarisation, anti-nationalism, and deterritorialisation (to a degree), development, and integrated governance structures and standards. Witness its embrace of concepts such as ‘normative power’, as a basis for its legitimate authority.11 Such late European hubris has been nicely punctured, however, as simply
effects of the crisis, paying attention to its non-territorial, monetary dimensions. The analysis also revealed that developments in AQ propaganda over time occurred in a manner that reflected the organisation’s own de-territorialisation, while incorporating rhetorically sophisticated techniques. These included Bin Laden’s display of his education as cultural capital, Zawahiri’s appeal to collectivisation and social capital, and both leaders’ overarching reference to the ideals of anti-capitalist disenfranchisement as a ‘subjugated habitus’ ( Bourdieu 1984 , 1986
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
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
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
agency. Toxic hegemonic masculinity remains unproblematised, indeed, seems to enjoy a taken-for-granted status as inevitable and normal. Assembling bodies via registers of territorialisation, deterritorialisation and reterritorialisation Part of the characteristic of the machinic assemblage is its capacity for movement and renewal. The inscriptions of the body that are part of both patriarchal violence and part of a resistance against this violence – via refusal – function to deterritorialise and