By Rocío G. Davis, Dorothea Fischer-Hornung, Johanna C. Kardux
This quantity analyzes leading edge varieties of media and track (art installations, tv ads, images, motion pictures, songs, telenovelas) to envision the functionality of migration in modern tradition. although migration stories and media stories are ostensibly diverse fields, this transnational number of essays addresses how their interconnection has formed our knowing of the paradigms during which we expect approximately migration, ethnicity, state, and the transnational. Cultural representations interfere in collective ideals. paintings and media sincerely effect the methods the event of migration is articulated and recalled, intervening in person perceptions in addition to public coverage. to appreciate the relationship among migration and numerous media, the authors study how migration is represented in movie, tv, track, and paintings, but additionally how media form the ways that host state and fatherland are imagined. one of the subject matters thought of are new mediated types for representing migration, widening the point of view at the methods those representations could be analyzed; readings of enactments of reminiscence in trans- and inter-disciplinary methods; and discussions of globalization and transnationalism, inviting us to reconsider conventional borders in admire to migration, state states, in addition to disciplines.
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Extra info for Aesthetic Practices and Politics in Media, Music, and Art: Performing Migration (Routledge Research in Cultural and Media Studies)
As a war-widowed mother, Helen is impressed by Klaatu’s instant rapport with her young son—to say nothing of his good looks. Their relationship builds through verbal contact and semi-intimate, though indirect, communications. Although their relationship remains platonic throughout, Rennie and Neal are given an erotically charged, albeit sublimated, scene. 11 And when the military closes in on Klaatu, he performs an act of communion when he entrusts Helen with his life—and by extension, that of the entire human race—an act that also endows her with the power to communicate (the famous Klaatu barada nikto command) with the most powerful being in the universe, Gort, whose powers extend to resuscitating the dead.
This’ seems to involve missing her son’s wedding, despite a promised leave, to stay with the children. Amelia tries to mobilize her network of fellow Mexican nannies, a whole subculture of Mexican migrants embedded in these affluent American residential neighborhoods, but she has no luck farming the kids out to a colleague. Her nephew Santiago (Gael Garcia Bernal) arrives in a rundown red American car blasting Mexican music from its radio, a rosary dangling from its rearview mirror. The greeting scene, shot through the car windows, shows Santiago skeptical about taking the children along with them to Mexico.
The couple passes on the near side of the kiosk; the convertible on the far side. We see one more ethnic pushcart cross right to left. ” It is unclear if the border officer is addressing our walking couple or the couple riding in the convertible. All are now in dangerous proximity to the camera and fill almost the whole frame. ” Her voice has a note of pride in it. Meanwhile Heston reaches into his pocket for an ID. 22 The man is a heavy-set businessman type; the girl is a blonde, considerably brassier than Leigh in dress and demeanor.
Aesthetic Practices and Politics in Media, Music, and Art: Performing Migration (Routledge Research in Cultural and Media Studies) by Rocío G. Davis, Dorothea Fischer-Hornung, Johanna C. Kardux