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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.

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Porous trails at the border
Rozita Dimova

the otherwise social and symbolic abjection related to the name dispute. Going back to the nitty-gritty details of border crossing, border checkpoints reveal plenty about geopolitics and international hierarchies, despite the uniform, unnoticeable, and generically stylized aesthetics. Their outlook is informed by geopolitics and international regulations addressing how “modern” nation-states should standardize their borders and guard their territory. This is especially true for the Balkans, where the countries in the western part (Macedonia

in Border porosities
Ethnic minorities and localities in China’s border encounters with Myanmar, Laos and Vietnam
Victor Konrad
Zhiding Hu

merge, link, collude and reinforce border discourse. Top-down narratives and imaginaries negotiate border space with bottom-up narratives and imaginaries. These, in turn, reinforce, modify or adjust border-crossing, bordering practices and borderscapes. If the top-down and bottom-up narratives and imaginaries collide and clash, new ones may be originated, or the process may become stalled. Yet, with any cross-border interaction, aesthetical strategies are evident for coexistence and empowerment in border-crossing, bordering and the creation of borderscapes. The border

in Border images, border narratives
Border figures of the fantastic
Patricia García

according to the different fields in which they have been employed. The fantastic and liminality The texts of the fantastic are constantly engaging with borders, border-crossings, border-crossers and border beings. In this section, I discuss two different forms in which the fantastic engages with border theory: first, by exploring its limits as an aesthetic form against other non-mimetic narratives and second, thematically, by identifying recurrent tropes that are related to the liminal. The fantastic is

in Border images, border narratives
Olga Davydova- Minguet
Pirjo Pöllänen

current images and practices associated with the border and its crossing. Our analysis is based on our long-term ethnographic work (through observations, interviews and media follow-up) with (auto)ethnographic observations of the border, border crossings, border area and migration on both sides since the beginning of the 2000s (see, e.g., Davydova and Pöllänen 2010 ; Davydova-Minguet and Pöllänen 2017

in Borders of desire