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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
The documentary legacy of Sara Gómez in three contemporary Cuban women filmmakers
María Caridad Cumaná González
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
Film, photography and the former coalfields
Katy Bennett
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
Open Access (free)
History, legend and memory in John Sayles’ Lone Star
Neil Campbell

deterritorialisation’ in which their identities are re-formed as acts of hybrid ‘becoming’. 43 In Sayles’ new history, knowing about the past is vital as a way forward rather than as something to dwell upon or be imprisoned by, existing as part of a multifaceted spatial appreciation of living in the West with its many stories and many peoples. The film challenges a world of borderlines and the oppressive weight of

in Memory and popular film
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Representing postcolonial African cinema
David Murphy
Patrick Williams

, however, can be prone to reductive assessments that bedevil discussions of postcolonialism: ‘While Fourth World peoples often invest a great deal in a discourse of territorial claims, symbiotic links to nature, and active resistance to colonial incursions, postcolonial thought stresses deterritorialisation, the artificial, the constructed nature of nationalism and national borders, and the obsolescence of anti

in Postcolonial African cinema
Abstract only
Bill Marshall

within it, witness Quentin’s irruptions, and even a particularly distasteful scene of voyeurism and near-sexual assault when she is sleeping. These deterritorialisations contribute to the film’s fundamental notion of change and transformation, of ‘becoming-other’. However, questions arise here as to the meaning of the relationship with the theatre and acting, and of the nature of the process of change. A more conventional approach might be to set up an opposition between truth and falsehood around the metaphor of acting (the basis, for example, of Douglas Sirk’s 1959

in André Téchiné
Bill Marshall

unproblematically French (or European, or Moroccan): ‘every boundary proves itself a limit: apropos of every identity, we are sooner or later bound to experience how its condition of possibility … is simultaneously its condition of impossibility’ (Žižek 1991: 110). Furthermore, this lack at the heart of identity introduces the idea of a minor culture in the sense given that word by Deleuze and Guattari. This refers not to ‘minorities’ as such, but to ‘des germes, des cristaux de devenir, qui ne valent qu’en déclenchant des mouvements incontrôlables et des déterritorialisations de

in André Téchiné
London River and Des hommes et des dieux
Gemma King

in globalised contexts. For Elena Caoduro, in London River ‘for different reasons Elisabeth and Ousmane feel like aliens in a foreign land and their deterritorialisation as displaced persons grounds London River in the transnational, both thematically and in terms of global awareness’ (2011: 7). Consequently, in the context of the personal exchanges between Elisabeth and Ousmane, French does not carry the kind of loaded cultural, political or identitary connotations it has historically carried in French cinema. It is presented as a mutually familiar yet foreign

in Decentring France