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Abstract only
Michael Gott

approximately 1989, the European continent in particular has experienced a remarkable proliferation. Foucher provides two figures to support his suggestion that Europe is a ‘new continent’: 26,651 km of new political borders have been created since 1990, meaning that 48.6 per cent of all European political frontiers have been delimited since 1990 (Foucher 2007 : 116). This proliferation of new borders can be attributed to the appeal

in Screen borders
Migrants and the Mediterranean in Italian–French co-productions
Michael Gott

spaces on Europe’s margins as under pressure from two fronts in the logic of what Isolina Ballesteros calls the ‘Fortress approach’ (Ballesteros 2015 : 12) so prevalent in European political and public discourse. Europe’s borders are also questioned on the level of production and distribution infrastructure. The narratives that question the instability of Europe’s outer borders

in Screen borders
Ports and watery borderlands from Calais to Lesbos
Michael Gott

that is best described as an alternative to solitude and a way to live differently (142). La villa posits that to live differently means to take an open stance towards others and a critical approach to the national and European politics of border control. If the sudden appearance of refugees late in the film has a logic within the context of Guédiguian’s cinematic universe

in Screen borders
James Zborowski

identification? What counts psychologically as such a commitment? … Is there much of a psychological reality to political self-­ identification in America, and if not, is that a worrisome problem or not?56 Pippin’s ensuing survey of European political philosophers who have contemplated this question includes some thinkers who frame the issue as one of distance. There is, for example, Rousseau’s observation that ‘sociable man is always outside himself’.57 And there is, of course, Marx’s notion of the alienation engendered by the capitalist system of economic relations. When

in Classical Hollywood cinema
Films since 2000
Joseph Mai

Tiersky’s François Mitterrand: The Last French President, emphasises Mitterrand’s victory over the Communist Party, his role in legitimising the presidency of the Fifth Republic and his support for European political and monetary unity at a time when a polarised Yalta–​Europe was reorganising. Tiersky’s Mitterrand had a Machiavellian political genius combined with a republican vision of the future that allowed him eventually to exert a broad influence over history. Tierksy underscores Mitterrand’s charisma and his seductiveness, and especially his attachment to an

in Robert Guédiguian
First Signs, Speech Day, The Gamekeeper, Tom Kite, The Price of Coal
David Forrest
Sue Vice

-­shooting party includes not simply British aristocratic sportsmen but also European political figures, such as Count Mauriac, who, as the narrator puts it in phrasing that sounds tongue-­in-­cheek, ‘flew over from France for every shoot’, as if he were himself a bird; and Senhor Aveiro, a retired Portuguese diplomat, of whom we learn, in another term equally suited to wildlife, that he had ‘settled’ in England (162). This dramatises the comment made by George’s fellow-­drinkers in the local pub about the ‘old Duke’s’ insistence on prosecuting the miners who worked in his pits

in Barry Hines