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African American physicians in television period dramas
Kevin McQueeney

, institutions established to provide care for Black soldiers and refugees (NIH, 2013 ). Thus, while Diggs is not directly modelled after a singular historical figure, his role as an aspiring Black doctor is based on historical precedent. Similarly, on Copper , Matthew Freeman (Atto Essandoh) is a formerly enslaved African American who learned medical skills from an army physician during his service in the Civil War and later

in Diagnosing history
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Sam Rohdie

as it makes its way forward to the French customs and immigration post. In the car is the driver, a French bookseller from Hendaye, the first French town after the crossing, and Carlos, a Spanish refugee living in Paris. The car has come from Madrid, some hundreds of miles south of France. Carlos is a refugee from Franco’s Spain and a professional revolutionary seeking to overthrow the Spanish dictatorship. He has been in

in Montage
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Melodramatizing the Hungarian Holocaust
R. Barton Palmer

's disclosure of the long-hidden, is the object that provides the film with its title. In the film, Costa-Gavras poses a simple question. Was a postwar refugee from Hungary, now an American citizen, in his youth a notorious Arrow Cross gendarme who personally murdered women and children and took delight in the torture and rape of adolescent Jewish girls? Or is he what he has seemed to be for the past forty years: a hard-working family man, loyal to the culture and values of both the land of his birth and his adopted country? The final link in the chain of evidence, mostly

in The films of Costa-Gavras
Hanna K. (1983) and the Palestinian ‘permission to narrate’
Matthew Abraham

the passage of time, the political effort that would be required to enact such a return of nearly 750,000 refugees, many of whom have passed on, is a near-impossibility some eighty years later. The symbolic significance of such a return, however, continues to infuse much debate about the Israel–Palestine conflict because it captures the magnitude of loss and despair of what is often called the Palestinian Nakba or catastrophe. Selim Bakri's story of return is at the heart of Hanna K. , as Costa-Gavras explores the loss of Palestinian culture and society in the wake

in The films of Costa-Gavras
Border-crossing odyssey and comedy
Isolina Ballesteros

mythical, space where perilous crossings take place daily. As a borderless space between cultures, in theory, the Mediterranean Sea is currently subjected to intense surveillance and securitization; it has become a site of dangerous traffic, failed journeys, and ultimately a graveyard. Consequently, an increasing number of visual and performing artworks created in the last two decades, and notably since the beginning of the refugee crisis of 2015, symbolically memorialize death in the Mediterranean. Among the variety of art projects attempting to generate public

in The films of Costa-Gavras
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The limits of radicalism
Deborah Shaw

addresses some of the most serious issues of our time through an imagining of a dystopian near future (it is set in 2027). In this, it is an example of the ‘cinema of globalisation’, and it can also be seen as a world cinema text as applied in my reading of Babel: that is, an example of films which ‘seek to say something about “the world”, with a focus on relationships between citizens and trans­national socio-political issues’ (see p. 137). This is a film which takes migration and the mistreatment of refugees as a central theme and in this covers what for a number of

in The three amigos
Bill Marshall

JeanPierre Azéma). Les Egarés was also Téchiné’s first literary adaptation, the script, which he co-wrote with his long-time collaborator Gilles Taurand, being based on Gilles Perrault’s 2001 novella, Le Garçon aux yeux gris.11 Set between 10 June 1940 and the period just following the armistice signed between Hitler and Marshal Pétain on 22 June which established the Vichy regime, Les Egarés tells the story of a middle-class schoolteacher from Paris, Odile (Emmanuelle Béart), whose husband had been killed at the beginning of the war. Along with thousands of other refugees

in André Téchiné
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Brian McFarlane and Deane Williams

as Victor Sjöström, Mauritz Stiller and Danish Carl Dreyer. From Sjöström, he uses extracts from his poignant and masterly Ingeborg Holm (1913), a film which influenced Swedish legislation in regard to the Poor Laws. It is tempting to see in Winterbottom a trace of this kind of socially powerful filmmaking in his chronicle of refugee flight, In This World (2003). As well, this Cinema Europe episode established

in Michael Winterbottom
Sarah Cooper

de fond , the subject of L’Ambassade suggests initially that this will be a direct reflection on the political situation in Chile after the horrific events of 11 September 1973. On screen at the outset, we are informed that this is a Super 8mm film found in an embassy. Lasting only twenty minutes, it focuses on the aftermath of a violent coup d’état and the arrival of political refugees in an embassy run by an

in Chris Marker
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Spanish alienation in a foreign landscape
Ann Davies

required activities to give his weary cast some measure of encouragement and empathy.) The location scenes in Kosovo include at least one place where fighting had gone on only six months before. The scene in which refugees throw stones at the passing peacekeeping convoy threatened to impinge on real life: the staged confrontation was monitored by Serb forces in helicopters, who thought that something really was happening in Kosovo. Moreover, the early sequence with the refugee camp and the church had to be constructed and filmed in Spain, because if in Kosovo they had

in Daniel Calparsoro