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Being Irish in nineteenth-century Scotland and Canada
S. Karly Kehoe

M&H 08_Tonra 01 08/04/2014 07:20 Page 152 8 Border crossings: being Irish in nineteenth-century Scotland and Canada 1 S. Karly Kehoe This chapter’s role in a book about Irish women in the diaspora is twofold: to consider how those who entered religious communities functioned as migrants with distinct identities and to examine the extent to which their Irishness influenced the development of Catholic culture in different locations. In doing so, it presents a more nuanced understanding of the global diaspora by highlighting the extent to which national

in Women and Irish diaspora identities
Seen and unseen migrants
Stephen F. Wolfe

History has many cunning passages, contrived corridors And issues T.S. Eliot ( 2005 [1920 ]: 402) Introduction In this chapter, I will detail how a group of selected migrant writers from 1950 to 2013 have focused on the experience of border-crossing into the city of London, their collective experience of migrancy within that city and their

in Border images, border narratives
Kathryn Cassidy

3 Border crossings, shame and (re-)narrating the past in the Ukrainian–Romanian borderlands Kathryn Cassidy In April 2008, I celebrated my birthday in the village of Diyalivtsi,1 where I had been living since October 2007, while carrying out research on informal economic practices in the Ukrainian–Romanian borderlands. My host, Rodika, and I had spent some time preparing food and drink for visitors and the first to arrive were our good friends and neighbours Luchika and her daughter Zhenia. Luchika and her son-inlaw Dima were both cross-border small traders of

in Migrating borders and moving times
Olga Davydova- Minguet
Pirjo Pöllänen

Introduction As border-region residents and border scholars, we have studied the Finnish–Russian border from several angles. Our approach has been defined by an interest in everyday and gendered practices. In our research conducted in the early 2010s we focused on the ethnosexual dimension of border-crossings at the Niirala–Värtsilä local checkpoint, which connects

in Borders of desire
Nataša Gregorič Bon

7 Silenced border crossings and gendered material flows in southern Albania Nataša Gregorič Bon My friend Maria and I were sitting on the front porch of the house of the village teacher, Naso, admiring his garden in the spring sun.1 Naso was in the kitchen, preparing a welcome drink (qeras/kerasmo2). Within a few minutes he was in the doorway, holding two glasses of peach juice, which he carefully set on the table in front of us. He smiled and said: When a man is at home alone he brings the drinks in his hands and not on a tray as his wife would do. This is

in Migrating borders and moving times
The (un)homeliness of Gainsbourg’s persona
Felicity Chaplin

Chapter 4 considers the way Gainsbourg continues to work in French and transnational contexts and how the recurring motifs of her star persona manifest themselves in three films: Julie Bertuccelli’s Australian-set drama The Tree (2010), Olivier Nakache and Éric Toledano’s French blockbuster Samba (2014) and her Hollywood debut in Independence Day: Resurgence (Roland Emmerich, 2016). This chapter argues that part of what makes Gainsbourg such a fascinating case study is her ability to shift between different genres, languages and filming locations. Her ability to do so is due, in part, to her bilingual background and transnational star persona while at the same time her film choices reinforce her status as a transnational and cosmopolitan celebrity. This radical and constant shifting gives an unhomely aspect to Gainsbourg’s persona which is explored with reference to Freud’s concept of the unheimlich.

in Charlotte Gainsbourg
The political aesthetics of boundaries and crossings

This interdisciplinary volume explores the role of images and representation in different borderscapes. It provides fresh insight into the ways in which borders, borderscapes and migration are imagined and narrated by offering new ways to approach the political aesthetics of the border. The case studies in the volume contribute to the methodological renewal of border studies and present ways of discussing cultural representations of borders and related processes. The case studies address the role of borders in narrative and images in literary texts, political and popular imagery, surveillance data, video art and survivor testimonies in a highly comparative range of geographical contexts ranging from northern Europe, via Mediterranean and Mexican–US borderlands to Chinese borderlands. The disciplinary approaches include critical theory, literary studies, social anthropology, media studies and political geography. The volume argues that borderlands and border-crossings (such as those by migrants) are present in public discourse and more private, everyday experience. This volume addresses their mediation through various stories, photographs, films and other forms. It suggests that narratives and images are part of the borderscapes in which border-crossings and bordering processes take place, contributing to the negotiation of borders in the public sphere. As the case studies show, narratives and images enable identifying various top-down and bottom-up discourses to be heard and make visible different minority groups and constituencies.

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Multilingualism and power in contemporary French cinema

In a world defined by the flow of people, goods and cultures, many contemporary French films explore the multicultural nature of today's France through language. In a cinematic landscape increasingly characterised by multiculturalism and linguistic diversity, a number of contemporary French films are beginning to represent multilingualism as a means of attaining and exerting social power. This book is the first substantial study of multilingual film in France. Unpacking the power dynamics at play in the dialogue of eight emblematic films, it argues that many contemporary French films take a new approach to language and power. The book begins in central Paris in Polisse and Entre les murs, then travels to the banlieue in Un prophete and Dheepan. It then heads to another culturally loaded but very different space with Welcome and La Graine et le mulet, whose border-crossing stories unfold in the port cities of Calais and Sete respectively. Then, in London River and Des hommes et des dieux, the book steps off French soil, travelling to the English capital and former French colony of Algeria. It explores characters whose lives are marked not only by France, but by former colonies, foreign countries and other European states. In its depiction of strategic code-switching in transcultural scenarios, contemporary French multilingual cinema shows the potential for symbolic power inherent in French, other dominant Western tongues, and many migrant and minority languages. The book offers a unique insight into the place of language and power in French cinema today.

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This is the first book dedicated to the career and films of Jacques Audiard. It argues that the work of this prominent French director both reinforces and undermines the traditional concept of the auteur.

The book traces Audiard’s career from his early screenwriting projects in the 1970s to his eight directed feature films. From a prison outside Paris to a war zone in Sri Lanka, from a marine park on the Côte d’Azur to the goldfields of the American Wild West, these films revolve around the movement of bodies. Fragile yet powerful, macho yet transgressive, each of these films portrays disabled, marginalised or otherwise non-normative bodies in constant states of crisis and transformation.

This book uses the motif of border-crossing – both physical and symbolic – to explore how Audiard’s films construct and transcend boundaries of many forms. Its chapters focus on his films’ representation of the physical body, French society and broader transnational contexts. Located somewhere between the arthouse and the B movie, the French and the transnational, the feminist and the patriarchal, the familiar and the new, this book reveals how Jacques Audiard’s characters and films reflect his own eternally shifting position, both within and beyond the imaginary of French cinema.

An Interview with Irina Mützelburg (October 2022)
Brendan Lawson
Joël Glasman
, and
Irina Mützelburg

to refugee numbers – any numbers that some legitimate organisation would give them. This could be collected data, such as on border crossings, but also estimations of how many Ukrainians might have reached different countries, as well as the above-described initial guesses about future refugee numbers. Since the interwar period of the twentieth century, statistics on refugees have been produced and used to control migration and population. Statistics have been supposed to help re

Journal of Humanitarian Affairs