Bordering intimacy is a study of how borders and dominant forms of intimacy, such as family, are central to the governance of postcolonial states such as Britain. The book explores the connected history between contemporary border regimes and the policing of family with the role of borders under European and British empires. Building upon postcolonial, decolonial and black feminist theory, the investigation centres on how colonial bordering is remade in contemporary Britain through appeals to protect, sustain and make family life. Not only was family central to the making of colonial racism but claims to family continue to remake, shore up but also hide the organisation of racialised violence in liberal states. Drawing on historical investigations, the book investigates the continuity of colonial rule in numerous areas of contemporary government – family visa regimes, the policing of sham marriages, counterterror strategies, deprivation of citizenship, policing tactics, integration policy. In doing this, the book re-theorises how we think of the connection between liberal government, race, family, borders and empire. In using Britain as a case, this opens up further insights into the international/global circulations of liberal empire and its relationship to violence.
Given the significant similarities and differences between the welfare states of Northern Europe and their reactions to the perceived 'refugee crisis' of 2015, the book focuses primarily on the three main cases of Denmark, Sweden and Germany. Placed in a wider Northern European context – and illustrated by those chapters that also discuss refugee experiences in Norway and the UK – the Danish, Swedish and German cases are the largest case studies of this edited volume. Thus, the book contributes to debates on the governance of non-citizens and the meaning of displacement, mobility and seeking asylum by providing interdisciplinary analyses of a largely overlooked region of the world, with two specific aims. First, we scrutinize the construction of the 2015 crisis as a response to the large influx of refugees, paying particular attention to the disciplinary discourses and bureaucratic structures that are associated with it. Second, we investigate refugees’ encounters with these bureaucratic structures and consider how these encounters shape hopes for building a new life after displacement. This allows us to show that the mobility of specific segments of the world’s population continues to be seen as a threat and a risk that has to be governed and controlled. Focusing on the Northern European context, our volume interrogates emerging policies and discourses as well as the lived experiences of bureaucratization from the perspective of individuals who find themselves the very objects of bureaucracies.
A visual analysis of four frames of representation of ‘refugeeness’ in Swedish newspapers
are manifestations of power structures:
the gaze of the photographer/film-maker directed at their subject, the
counter gaze of the subject towards the photographer and the spectator of
the image. There are also the gaze of the editors in charge of selecting the
right image for publishing and, importantly, the gaze of the researcher while
collecting and analysing these very images. Therefore, naming an event a
refugee crisis is not only a matter of language, but also that of knowledge
production and construction of specific realities. In relation to that, Rose
to show the violence of colonial rule and recover and forge
new expressions of being in the world.
In diverse environments, from migrant camp dispersals, to police stop
and search, to protest movements, the use of photography to hold the
state and its agents and international organisations to account has become
increasingly powerful. Whether this is filming police violence (Wall
and Linnemann 2014), or illegal detention practices, or physical and
sexual abuse, photography is increasingly used to put pressure on states
or to attempt to persecute
, comic strips, crosses, and portraits of Pope John Paul II,
paintings, film posters, posters with animals, naked women, male
film stars with naked chests and unzipped jeans: in other words,
sacrum and profanum.
A search for office images in a stock photography bank would
yield photographs of neat offices, where clean furniture occupies
an otherwise empty space. No mascots, family photographs, ferns,
printed or handwritten way-finding signs, piles of documents in
binders and boxes scattered on the floor or falling from shelves.
The reality as seen by the researcher (me
they were described. Just so did Mozart's Don Giovanni and Leporello by exchanging clothes enable Giovanni to evade his pursuers. But dressing as someone else has its perils. In Eisenstein's Ivan the Terrible it was by flattering the conspirators’ candidate for the throne into wearing the royal robes that the tzar diverted the assassin's knife to the usurper whose cause it was meant to advance. 13 In an age without photography, film, television, or the Internet, faces were unknown beyond an immediate circle, while clothes proclaimed a king. Renaissance theatre is
popular culture, where the display of corpses in police
dramas, horror filmsand television series centres –almost obsessively –on the figure of the forensic pathologist and the cutting-up
of dead bodies.24
The second set of questions is more strictly ethical in nature.
Works of fiction, along with photographyandfilm, engage just as
directly as religious or scientific practices with the fundamental
questions raised by the bringing to light and public display of corpses
and human remains with regard to the respect they are owed. These
documentaries and works of
– whether as fiction, poetry, painting, sculpture, music, or film – can often express or indicate what bare theory can only point at from a great distance. Cultivation provides, too, an alternative description to an account of people as trapped in a choice between intentionality, where everything that is done is part of a plan, and spontaneity, where actions burst suddenly from nowhere. The irresolvable paradoxes of cultivated identity and the possibilities of autonomy, action, and choice Feathers are part of the bird. But the bird's plumage will change only with the
and allocated tasks, Frank often became upset, arguing that he felt
silenced and excluded. Both women learned to appease Frank by
immediately apologizing, patiently listening to his ideas, and then
continuing with their earlier discussion once he felt comfortable.
Frank is a Dutch squatter in his late twenties. Trained as
a filmmaker, he works during the summer, filming music festivals around
Europe, and lives off his summer salary during the rest of the year.
Unusually for squatters, Frank grew up in
bearing. By the middle of the twentieth century, photography, cinema, and television meant that the face was as important, and the proclamation of rank or profession by clothing was of declining relevance. Whilst the privileged and the powerful still proclaimed and cultivated their status by clothing and cars, much presentation became a statement of allegiance or membership, rather than of what Veblen called the invidious distinction of superior wealth.
As a mobilised society became more democratic and the formal distance between elite and mass