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Tourism, transnational romance and anxieties of authenticity
Mariana Johnson

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

in Contemporary Spanish cinema and genre
Film, photography and the former coalfields
Katy Bennett and Richard Lee

Imagination’ ( London , Routledge ), pp. 42–59 . Crouch , D. and Malm , C . ( 2003 ), ‘Landscape practice, landscape research: an essay in gentle politics’ , in Dorrian , M. and Rose , G. (eds), Deterritorialisations . . . Revisioning: Landscape and Politics ( London and New York : Black Dog Publishing) , pp. 253

in Cinematic countrysides
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Habana Blues and the framing of diasporic cubanía
Susan Thomas

‘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

in Screening songs in Hispanic and Lusophone cinema
Open Access (free)
Hannah Jones, Yasmin Gunaratnam, Gargi Bhattacharyya, William Davies, Sukhwant Dhaliwal, Emma Jackson, and Roiyah Saltus

). The growth of harsh new border regimes or what activist Harsha Walia ( 2013 ) calls ‘border imperialism’ has been a midwife to the birthing of these death worlds in Europe, not only in the Mediterranean but in planes, lorries and detention camps and centres across the continent. There are three simultaneous, imbricated developments in contemporary border regimes: the deterritorialisation of state sovereignty; a fortification of land

in Go home?
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Deborah Martin

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

in The cinema of Lucrecia Martel
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Les Amants du Pont-Neuf and the spectacle of vagrancy
Fergus Daly and Garin Dowd

-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

in Leos Carax
Marc James Léger

, Žižek argues that the dogma of today’s petty-bourgeois left has the features of a ‘humorous superego’ that bombards those in power with impossible demands – for example, the demand for constant resistance, for continuous subjective deterritorialisation, and for rebuilding every known institution from the ground up. This superego agency then mocks us for failing to meet these demands. 60 This nomadic indeterminacy is paradoxically consistent with the technological and labour determinism that anarchists associate with communicative semio-capitalism. The productive

in Vanguardia
Marc James Léger

effect some notion of the big Other that is operative in society, however unconscious it may be. A Master is not someone who tells us what to do in the same way that symbolic representations tell us how to enjoy; it is rather an agent who, in Žižek’s estimation, disturbs us into freedom. In the present democratic conjuncture, we are compelled to accept capitalist domination as a free choice and deterritorialisation as opportunity. There is no freedom in this. The Master, in contrast, is not an exemplary figure who must be followed or emulated, since, in Lacanian terms

in Vanguardia
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A British relationship
Arthur Aughey

cultural substance with administrative regions on the one hand and English ‘icons’ on the other. (Indeed, the Labour Government’s search for icons of Englishness was an illustration of life imitating art, in this case Julian Barnes’s novel England, England, in which the entrepreneur Sir Jack Pitman constructs a theme park England on the Isle of Wight based on the ‘Fifty Quintessences of Englishness’.) What is even more sinister, this de-territorialisation and de-culturalisation is also thought to be part of a larger project to surrender sovereignty to Europe. If Lloyd

in The politics of Englishness
Creations of diasporic aesthetics and migratory imagery in Chinese Australian Art
Birgit Mersmann

2018. 7 www.westernsydney.edu.au/aciac/about . Accessed 19 November 2018. 8 In the short brochure accompanying the exhibition, Bond spoke of the artists’ interest in ‘identity and cross-cultural references’ (quoted in Chiu, 2006 : 173). 9 In globalisation studies, transborderness is described as an effect of deterritorialisation and trans-border movement. This definition can be applied to study the impact of global migration on spatial representations and perspectives in the visual arts. 10 This refers to the display of Han Xizai’s screen painting

in Art and migration