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17 Rethinking interdisciplinarity: Futurist cinema as metamedium Carolina Fernández Castrillo Carolina Fernández Castrillo Rethinking interdisciplinarity Some of the most innovative artistic expressions at the beginning of the twentieth century came from the Futurist desire for provocation and rupture with tradition. After many unsuccessful attempts at the end of the nineteenth century, Futurism tried to formulate new strategies to reflect the transition of society and the arts to modernity. Its project consisted of an integral restructuring of the universe
time, dealing with the issue of who is ‘leading the narrative’ in co-produced creative work is complex, and sometimes different stages in the project call for more or less stringent roles. But in that messiness there is also a rich space for interdisciplinarity to be cultivated. Researchers can put on the hat of being an artist – and artists can pursue ethnography. We found that interdisciplinary work isn’t simply about having a diverse team, but also about each of us
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.
of international law and films. They are: genre, interpretation and interdisciplinarity. Next I offer some suggestions for further research in this field; chiefly, panning out to take in world cinema; investigating the material conditions in which films are produced as relevant context in their interpretation; and using Third World Approaches to International Law (TWAIL) and feminist approaches to analyse the representation of international law in film. Finally, I explore the status of women as providing a justification for the US military intervention in
underlying interdisciplinarity of this volume. While interdisciplinarity is a standard expectation of many ambitious research projects, its practical application is fraught with challenges. Our explorations acknowledge and embrace them, negotiating these challenges as the differing horizons of disciplinary expectations, methodologies and discourse styles, and disciplines’ differing individual stylistic
Global South, and, by extension, the Global North, as a “ relation , not a thing in and of itself.” Interdisciplinarity: beyond a fragmented approach to refugees There is no dearth of works on refugees, asylum seekers, migrants, and the geopolitics surrounding their categorization, movement, and enclosure (Collyer, 2016 ; Hyndman, 2000 ; Hyndman, 2012 ; Malkki, 1995 ; Mountz, 2011 ; Zetter, 1991, 2018 ). Indeed, with the advent of the Syrian “crisis,” the media, academic work, and policy work have been inundated with
visible. First, despite substantial changes in interdisciplinarity and the social sciences since the mid-twentieth century, and incorporations of trends from English-speaking academia more recently, classical text-based scholarship without ‘studying humans’ is still common in Islamic Studies and other scholarship on the region. Second, this results in a complex picture as far as the political implications of knowledge production are concerned: owing to a humanistic perspective (as a philosophical tradition, not as the
Eamonn Wall explores the methodology and reach of Robinson’s work. Even though Robinson is not connected to the academy, his work exemplifies the idea of interdisciplinarity. Wall argues that Robinson has moved slowly and respectfully, allowing him to undertake many avenues of inquiry to great effect that continues to remain relevant in Irish Studies.
The Introduction provides the main premise that connects the various chapters – that as fertility rates decline worldwide, the fervour to control fertility, and fertile bodies, does not dissipate; what evolves is the preferred mode of control. The preface introduces connections between the debates around eugenics, Malthusianism and selective reproduction. It provides an overview of the book by outlining the various chapter contributions as well as highlighting the interdisciplinarity of the volume. The final section connects these debates to the Covid-19 pandemic and the crisis of reproductive health and justice.
Cinema has been an object of study for the social sciences for some time now. The relationship between law and cinema has been the subject of a certain number of reflections by jurists who work essentially within a national legal framework, and from the true genre that courtroom movies have become. One can point also to studies linking cinema and international relations. In short, the relationship between international law and cinema has never been the subject of a specific book. The objective of the present book is to show what image of international law and its norms is conveyed in films and series. Beyond a strictly legal analysis, the ambition is to take into account, in a broader perspective marked by interdisciplinarity, the relations between international law, cinema and ideology. The volume is aimed at a readership made of scholars, researchers as well as practitioners, in the field of international law, and related fields, all of whom will benefit from being introduced to a variety of perspectives on core international legal questions present in movies and TV series. Further, the volume can also be used with advanced undergraduate and postgraduate students studying international law, politics and international relations because it will provide the possibility of introducing students to a variety of perspectives on key issues in international law present in movies and TV series.