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Parvati Nair and Julián Daniel Gutiérrez-Albilla

Part III Migration, transnationalism and borders Implicit in the very idea of bringing together the work of women filmmakers from Hispanic and Lusophone contexts is the notion that these cultural categories must necessarily be viewed in terms of their migratory and transnational histories. This is so simply by dint of the vast geographical and geopolitical spaces and networks that constitute the Hispanic

in Hispanic and Lusophone women filmmakers
Bombay and the Village in 1990s Women‘s Cinema
Rashmi Sawhney

This article examines the representation of Bombay in Aruna Raje‘s Rihaee (1988) and Sai Paranjpyes Disha (1990). It has been argued here that in both films, Bombay functions as a narrative anchor to the fictive village, which is depicted as the locus of Indian modernity. Symbolism of the village-city trope is used to reorganise the syntagm of modernity-location-gender in new relations of power and also to present alternative visions of national development within the socio-economic context of 1990s liberalisation in India. The dialectic between city and village in these films emphasises the role of memory and migration in women‘s cinema, and also serves as a means to probing the relationship between gender and films in the postcolonial context.

Film Studies
Theory, practice and difference

While women directors continue to be a minority in most national and transnational film contexts, there are those among them who rank among the most innovative and inventive of filmmakers. Filmmaking by women becomes an important route to exploring what lies outside of and beyond the stereotype through reflexivity on violence and conflict, and through visual and narrative explorations of migration, exile, subjectivity, history or individual and collective memory. By documenting and interpreting a fascinating corpus of films made by women coming from Latin America, the US, Portugal and Spain, this book proposes research strategies and methodologies that can expand our understanding of socio-cultural and psychic constructions of gender and sexual politics. It critically examines the work of Hispanic and Lusophone female filmmakers. It 'weaves' several 'threads' by working at the intersections between feminist film theory, gender studies and film practices by women in Latin America, the US, Portugal and Spain. The book explores the transcultural connections, as well as the cultural specificities, that can be established between Spanish, Portuguese, Latin American and Latino contexts within and beyond the framework of the nation state. It suggests that the notion of home and of Basque motherland carry potentially different resonances for female directors.

Editors: Lisa Shaw and Rob Stone

This book explains how the famous Spanish singer and actress Imperio Argentina starred in a film, Carmen, la de Triana, that was made in Berlin under the auspices of the Third Reich. It examines the Transition between the dictatorship and democratic eras in four films featuring performances in which transgendered protagonists lip-synch to songs from the Hispanic diaspora. The book considers how punk music and its attendant sensibility and cultural practices were profoundly influential in Spain throughout the early years of democracy. It focuses on one of the most financially successful Spanish films of the last ten years: El otro lado de la cama. The book moves to how punk music and its attendant sensibility and cultural practices were profoundly influential in Spain throughout the early years of democracy. This was when the Spanish version of British punk's irreverence, playful and disrespectful attitude toward art, bad taste, and corrosive humour nevertheless failed to capitalise on the political overtones of the original movement. The book lays emphasis on music as an indicator of the attitudes, social hierarchies and demarcations of youth but marks a shift in focus towards flamenco. Continuing the interwoven themes of rootlessness and evolution, it examines the diegetic and non-diegetic contribution of songs to representative films of the so-called 'immigration cinema' genre within Spanish cinema. Next come the exploration of transnationalism, migration and hybridity by exploring the role of Afro-Cuban song, music and dance in two films from Mexican cinema's golden age: Salón Méxicoand Víctimas del pecado.

This book explores representations of queer migrant Muslims in international literature and film from the 1980s to the present. It brings together a variety of contemporary writers and filmmakers of Muslim heritage engaged in vindicating same-sex desire from several Western locations. The book approaches queer Muslims as figures forced to negotiate their identities according to the expectations of the West and of their migrant Muslim communities. It coins the concept of queer micropolitical disorientation via the work of Gilles Deleuze and Félix Guattari, Sara Ahmed and Gayatri Gopinath. The author argues that depictions of queer Muslims in the West disorganise the social categories that make up contemporary Western societies. The study covers three main themes: queer desire across racial and national borders; Islamic femininities and masculinities; and the queer Muslim self in time and place. These thematic clusters examine the nuances of artistic depictions of queer Muslims’ mundane challenges to Western Islamophobia and Islamicate heteronormativity. Written in a scholarly but accessible style, this is a timely contribution to the controversial topic of Islam and homosexuality, forging understanding about the dissident position of Muslims who contravene heteronormative values and their equivocal political position in the West.

Melodramatic and moral readings of gay conversion therapy in A Place to Call Home
Alley-Young Gordon R.

Women’s Land Army). As Friedan (1963) argued, foisting such domestic role expectations on women, post-WWII, created a disillusioned and unhappy generation of women. Alternately, Haggett (2009) , in her study of post-war British wives/mothers, found that women cited partner infidelity, marriage breakdown, partner’s mental health, marriage migration (i.e., to the US/Australia), and consecutive pregnancies more

in Diagnosing history
Simplicity and complexity in Father Ted
Karen Quigley

( 1988 ) ‘ Performative acts and gender constitution: an essay in phenomenology and feminist theory ’. Theatre Journal 40 : 4 , pp. 519–31 . www.jstor.org/stable/3207893?origin=JSTOR-pdf . Accessed 12 July 2021. Free , Marcus ( 2015 ) ‘ “Don't tell me I'm still on that feckin’ island”: migration, masculinity, British television and Irish identity in the work of Graham Linehan ’. Critical Studies in

in Complexity / simplicity
Open Access (free)
Beckett’s Film
Philipp Schweighauser

mass migration, the effects of the war on terror on the US citizenry, and Western states’ as well as citizens’ increasing obsession with security measures that manifests itself, for instance, in extended emergency legislation. Yet while Derrida stresses that ‘autoimmunity is not an absolute ill or evil’ – since ‘[i]t enables an exposure to the other, to what and to who comes’ (Derrida, 2005 , 152) 8 – Esposito more persistently emphasises the deleterious effects of autoimmunisation

in Beckett and media
Mapping female subjectivity for the turn of the millennium
Jo Evans

-en-scène map her characters’ movement through contemporary Spain with narratives that give precedence to geographical and emotional journeys: Hola ¿estás sola? ( Hi, Do You Come Here Often? , 1995) follows two young women’s attempt to find work on the south coast and in Madrid; Flores de otro mundo ( Flowers from Another World , 1999) explores female migration; Te doy mis ojos

in Hispanic and Lusophone women filmmakers
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The limits of radicalism
Deborah Shaw

9 Children of Men: the limits of ­radicalism Children of Men (2006) is Alfonso Cuarón’s greatest filmic achievement to date and constitutes an auteurist statement in the way that it demands that its director be taken seriously. It addresses weighty issues and sets out to provide an account of the most pressing problems facing humanity: environmental destruction (symbolised by infertility), mass migration, and the tyranny within democratic states. It has its own specific look and applies a grimy desaturated realist aesthetic to a fantasy premise: the fact that

in The three amigos