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A queer and cartographic exploration of the Palestinian diaspora in Randa Jarrar’s A Map of Home (2008) and Him, Me, Muhammad Ali (2016)
Alberto Fernández Carbajal

-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

in Queer Muslim diasporas in contemporary literature and film
The short films (2010–11)
Deborah Martin

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

in The cinema of Lucrecia Martel
the cases of Lucrecia Martel and Isabel Coixet
Paul Julian Smith

following: How might auteurism continue to adapt itself to the processes of ‘globalisation’, namely the apparent ‘deterritorialisation’ of some forms of cultural production and the elaboration of new transnational systems of distribution with the accompanying fragmentation of mass markets and the targeting of particular audiences

in Hispanic and Lusophone women filmmakers
Renegotiating Chilean identity in Alicia Scherson’s Play (2005)
Sarah Wright

‘people of the earth’), the Mapuche have suffered deterritorialisations from successive governments. Constituting around 5 to 10 per cent of Chileans, from 1881 to 1920 the Mapuche were gradually relegated to just 3,000 ‘reductions’: 6.4 per cent of their original territory (Park and Richards, 2007 : 1321). The Pinochet regime practised a form of ethnic cleansing by privatising indigenous lands. Dissenters were tortured or

in Hispanic and Lusophone women filmmakers
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Stephanie Dennison and Lisa Shaw

) 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

in Popular cinema in Brazil, 1930–2001
Pedro Almodóvar’s transnational imaginary
Carla Marcantonio

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

in Contemporary Spanish cinema and genre
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Screening capital and culture in Airbag and Smoking Room
William J. Nichols

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 Contemporary Spanish cinema and genre
From Le Thé à la menthe to La Fille de Keltoum
Carrie Tarr

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

in Reframing difference
The documentary legacy of Sara Gómez in three contemporary Cuban women filmmakers
María Caridad Cumaná González and Susan Lord

is that of deterritorialisation. Each filmmaker locates this deterritorialised imaginary in geo-aesthetical terms: Barriga’s camera frame in the London Tube stop and its inability to locate the father; Sandra Gómez’s space of the borderland as a utopian open city; Rolando’s living traditions wherein the nation is dispersed and transculturated in the streets of com parsa and in the gardens of

in Hispanic and Lusophone women filmmakers
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Place, space and the gendered body in Isabel Coixet’s The Secret Life of Words (2005)
Helena López

organise Hanna’s story: a factory and an oil rig – epitomising the dissemination of late-capitalist production – and the IRCT archives in Copenhagen where numerous stories from victims of torture are filed. All three places are the effect of economic and political deterritorialisation and, therefore, deconstruct conventional territorial tropes about a coherent identity founded on the isomorphism of the

in Hispanic and Lusophone women filmmakers