Journeys of Hope to Fortress Europe
2006; Routledge; Volume: 20; Issue: 6 Linguagem: Inglês
10.1080/09528820601072908
ISSN1475-5297
Autores Tópico(s)French Historical and Cultural Studies
ResumoClick to increase image sizeClick to decrease image size Notes 1 For further discussion of the journey motif see Hamid Naficy, ‘Journeying, Border Crossing, and Identity Crossing’, in An Accented Cinema: Exilic and Diasporic Filmmaking, Princeton University Press, Princeton, NJ–Oxford, 2001, pp 222–87. 2 One of the foundational films on migration to Europe is Rainer Werner Fassbinder’s Ali: Fear Eats the Soul, Germany, 1972. See Thomas Elsaesser, Fassbinder’s Germany: History, Identity, Subject, Amsterdam University Press, Amsterdam, 1996, pp 13–43, 58–61, 280–1. 3 For some major analyses of the beur and banlieue film and Mathieu Kassovitz’s La Haine in particular see among others Ginette Vincendeau, ‘Designs on the Banlieue: Mathieu Kassovitz’s La Haine (1995)’, in French Film: Texts and Contexts, eds Susan Hayward and Ginette Vincendeau, Routledge, London–New York, 2000, pp 310–27. 4 For further reading see the chapter ‘“Race” and Cultural Hybridity: My Beautiful Laundrette and Sammy and Rosie Get Laid’, in John Hill, British Cinema in the 1980s, Clarendon Press, Oxford, 1999, pp 205–18; Karen Alexander, ‘Black British Cinema in the 90s: Going Going Gone’, in British Cinema of the 90s, ed Robert Murphy, BFI, London, 2000, pp 109–14; Barbara Korte and Claudia Sternberg, eds, Bidding for the Mainstream? Black and Asian British Film since the 1990s, Rodopi, Amsterdam–New York, 2004 5 Laura Rascaroli, ‘New Voyages to Italy: Postmodern Travellers and the Italian Road Film’, Screen, 44:1, Spring 2003, p 74 6 Laura U Marks, ‘A Deleuzian Politics of Hybrid Cinema’, Screen, 35:3, 1994, p 245 7 Hamid Naficy, ‘Phobic Spaces and Liminal Panics: Independent Transnational Film Genre’, East/West Film Journal, 8:2, 1994, p 1. For further reading on transnational cinema see Elizabeth Ezra and Terry Rowden, eds, Transnational Cinema: The Film Reader, Routledge, London–New York, 2006. 8 Michael Hardt and Antonio Negri, Empire, Harvard University Press, Cambridge MA–London, 2000, p 364 9 Lola Young, Fear of the Dark:’Race’, Gender and Sexuality in the Cinema, Routledge, London–New York, 1996, p 84 10 Saskia Sassen, ‘Rebuilding the Global City: Economy, Ethnicity and Space’, Social Justice, 20:3–4, 1993, p 32 11 Michael Hardt and Antonio Negri, op cit, p 362 12 Robin Wood, ‘Beautiful People’, CineAction, no 54, January 2001, p 30 13 Mireille Rosello, Declining the Stereotype: Ethnicity and Representation in French Culture, University Press of New England, Hanover, NH–London, 1998, p 2 14 Fergus Fleming, Killing Dragons: The Conquest of the Alps, Granta Books, London, 2005 15 The film’s humanisation ofthe traffickers (especially the young protagonist), showing them as victims of the new Europe, recalls Luc and Jean‐Pierre Dardenne’s La Promesse, France, 1996. 16 See http://www.bfi.org.uk/sightandsound/2001_03/last_resort.html (accessed 3 November 2004) 17 Iain Sinclair, ‘The Cruel Seaside’, Sight and Sound, March 2001, available at: http://www.bfi.org.uk/sightandsound/2001_03/last_resort.html (accessed 3 November 2004) 18 John Frow, ‘Tourism and the Semiotics of Nostalgia’, October, no 57, Summer 1991, p 144
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