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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
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.

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period, autobiography serves as a strong compositional source. The production context during this period, which saw Garrel with greater means at his disposal, reveals a marked shift with the film-maker’s poverist period and even with his narrative period. The implications of material comfort and stability are addressed by various aspects of these works which muse on the raison d’être of the artist after the heroism and idealism of youth. The most significant indication of Garrel’s migration towards a standardised model of film production was the decision he made at

in Philippe Garrel
Mapping female subjectivity for the turn of the millennium

-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

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
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Communicating conventions of (in)visibility in contemporary Spain

classical situations of migration, which in fact contribute to the transgeneric quality of contemporary immigration films. As Bergfelder proposes, an alternative history of European cinema needs to avoid narratives and discourses of containment in favour of ‘charting the fluidity of identities’ that through greater inclusiveness are more representative of ‘the European idea on a larger scale’ ( 2005 : 329

in Contemporary Spanish cinema and genre
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Welcome and La Graine et le mulet

combination of French characters, and migrants from previous French colonies (namely the Maghreb). Thus, French is the shared language and the lingua franca used. However, in Welcome, the immigrant in question has not found himself in France because it is the logical destination to take refuge in, due to colonial heritage and thus shared language. Bilal is a non-francophone whose migration patterns are not dictated by linguistic or cultural echoes of French colonialism: from Kurdistan, he is fleeing the Iraq war and is merely passing through France on his way to the UK

in Decentring France
The documentary ‘boom’

1 Continuity and change: the documentary ‘boom’ In the period from late 2002 to early 2004, trade and popular film publications and websites in the United States and Britain began to identify a ‘boom’ in documentary cinema.1 Such commentaries were based initially on the commercial success of a handful of documentary features, most notably Michael Moore’s Bowling for Columbine (US, released October 2002, grossed $21 million in the US); the sleeper hit Winged Migration (France, a dubbed version of Le Peuple Migrateur, released April 2003, grossed $11 million

in Watching the world