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Volver
Ana María Sánchez-Arce

film’s title. Volver takes its title from a tango by French-Argeninean Carlos Gardel. Sang with a flamenco arrangement by singer Estrella Morente and mimed by Raimunda in one of the film’s key scenes, it is a song about the experience of migrants’ return to their home towns and countries, of how returning means facing past sorrows, possibly related to failed love. The loving but tense relationship between the song’s narrator and her motherland is appropriated by the film to refer to a similar focus on mothers and daughters. Raimunda’s interpretation begins in

in The cinema of Pedro Almodóvar
Theorising the en-gendered nation
Elleke Boehmer

BOEHMER Makeup 3/22/05 2:55 PM Page 22 John's G5:Users:john:Public:John's Mac: John's Jobs 1 Motherlands, mothers and nationalist sons: theorising the en-gendered nation Woman is an infinite, untrodden territory of desire which at every stage of historical deterritorialisation, men in search of material for utopias have inundated with their desires. (Klaus Theweleit, Male Fantasies)1 Among postcolonial and feminist critics it is now widely accepted that the nationalist ideologies which informed, in particular, the first wave of independence movements and of

in Stories of women
Open Access (free)
Gender and narrative in the postcolonial nation
Author:

Why is the nation in a post-colonial world so often seen as a motherland? This study explores the relationship between gender icons and foundational fictions of the nation in different post-colonial spaces. The author's work on the intersections between independence, nationalism and gender has already proved canonical in the field. This book combines her keynote essays on the mother figure and the post-colonial nation with new work on male autobiography, ‘daughter’ writers, the colonial body, the trauma of the post-colony and the nation in a transnational context. Focusing on Africa as well as South Asia, and sexuality as well as gender, the author offers close readings of writers ranging from Chinua Achebe, Ben Okri and Nelson Mandela to Arundhati Roy and Yvonne Vera, shaping these into a critical engagement with theorists of the nation such as Fredric Jameson and Partha Chatterjee. Moving beyond cynical deconstructions of the post-colony, the book mounts a reassessment of the post-colonial nation as a site of potential empowerment, as a ‘paradoxical refuge’ in a globalised world. It acts on its own impassioned argument that post-colonial and nation-state studies address substantively issues hitherto raised chiefly within international feminism.

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.

The visualisation of environmental issues by the far right in India
Mukul Sharma

environmental communication of the Organiser , representing Hindutva, and how does it construct ideal Indian subjects, in relation to ‘others’, mother earth and the fatherland? How do Hindu nationalists visualise the role of science, technology, climate change and renewable energy in representing a great awakening of the motherland? And what are the specific characteristics of the far-right environmental politics in India, which are different from the West? In responding to these questions, this chapter offers an analysis of 250 issues (roughly fifty each

in Visualising far-right environments
Parvati Nair
and
Julián Daniel Gutiérrez-Albilla

cinema. Davies suggests that the notion of home and of Basque motherland carry potentially different resonances for female directors. Focusing on Ana Díez’s most significant film Ander eta Yul (1988), and the questions of homecoming, homelessness and alienation from home and family that the film presents, primarily through the character of Ander, Davies argues that Díez problematises Basque nationalism in terms of the home

in Hispanic and Lusophone women filmmakers
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Monuments, memorials and their visibility on the metropole and periphery
Xavier Guégan

, and thus a degree of successful cultural and political assimilation, these sites encountered very different readings and receptions. These varied according to the political and social principles connected to the rise of new social classes in both metropole and colony, and a growing political and social division between the subjects/citizens of the motherland and the inhabitants

in Sites of imperial memory
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Criticism, history, subjectivity
Author:

The title of this book - The ends of Ireland - brings together a number of closely entwined subjects and themes. The chapters in the book are concerned with the work of a generation of critics emerging from Ireland from the 1980s onwards whose work examines the idea of the 'ends of Ireland' in the sense of a focus on the purpose and consequences of a range of concepts of the nation and national identity. Yet these critics - Luke Gibbons, David Lloyd, Seamus Deane, W.J. McCormack, Gerardine Meaney and Emer Nolan - have the notion of 'ends' and 'endings' as their object in other ways. As the main representatives of the turn to theory in Irish Studies that occurred in the late 1980s and the 1990s, they have tracked and catalysed the dissolution of an unreflective and ideological notion of national identity as a matrix of critical analysis. The book examines the margin between Ireland and its others in order to elaborate a sense of what it might mean to speak of Ireland in the wake of the new ideas that began to circulate in the 1980s: deconstruction, psychoanalytic theory, feminism, subaltern studies, postcolonialism and not least the revisionist approaches that have revolutionized Irish historiography.

Transnational resistance in Europe, 1936–48
Editors: and

This work demonstrates that resistance to occupation by Nazi Germany and Fascist Italy during the Second World War has to be seen through a transnational, not a national, lens. It explores how people often resisted outside their country of origin because they were migrants, refugees or exiles who were already on the move. It traces their trajectories and encounters with other resisters and explores their experiences, including changes of beliefs, practices and identities. The book is a powerful, subtle and thought-provoking alternative to works on the Second World War that focus on single countries or on grand strategy. It is a ‘bottom up’ story of extraordinary individuals and groups who resisted oppression from Spain to the Soviet Union and the Balkans. It challenges the standard chronology of the war, beginning with the formation of the International Brigades in Spain and following through to the onset of the Cold War and the foundation of the state of Israel. This is a collective project by a team of international historians led by Robert Gildea, author of Fighters in the Shadows: A New History of the French Resistance (Faber & Faber, 2015). These have explored archives across Europe, the USA, Russia and Israel in order to unearth scores of fascinating individual stories which are woven together into themed chapters and a powerful new interpretation. The book is aimed at undergraduates and graduates working on twentieth-century Europe and the Second World War or interested in the possibilities of transnational history.

Race, locality and resistance
Author:

Fifty years ago Enoch Powell made national headlines with his 'Rivers of Blood' speech, warning of an immigrant invasion in the once respectable streets of Wolverhampton. This local fixation brought the Black Country town into the national spotlight, yet Powell's unstable relationship with Wolverhampton has since been overlooked. Drawing from oral history and archival material, this book offers a rich local history through which to investigate the speech, bringing to life the racialised dynamics of space during a critical moment in British history. What was going on beneath the surface in Wolverhampton and how did Powell's constituents respond to this dramatic moment? The research traces the ways in which Powell's words reinvented the town and uncovers highly contested local responses. While Powell left Wolverhampton in 1974, the book returns to the city to explore the collective memories of the speech that continue to reverberate. In a contemporary period of new crisis and division, examining the shadow of Powell allows us to reflect on racism and resistance from 1968 to the present day.