By Rocío G. Davis, Dorothea Fischer-Hornung, Johanna C. Kardux
This quantity analyzes cutting edge sorts of media and tune (art installations, T.V. ads, images, motion pictures, songs, telenovelas) to check the functionality of migration in modern tradition. notwithstanding migration reports and media experiences are ostensibly assorted fields, this transnational selection of essays addresses how their interconnection has formed our knowing of the paradigms during which we predict approximately migration, ethnicity, country, and the transnational. Cultural representations intrude in collective ideals. artwork and media basically impression the methods the adventure of migration is articulated and recalled, intervening in person perceptions in addition to public coverage. to appreciate the relationship among migration and various media, the authors study how migration is represented in movie, tv, tune, and artwork, but in addition how media form the ways that host nation and native land are imagined. one of the issues thought of are new mediated varieties for representing migration, widening the viewpoint at the methods those representations will 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 appreciate to migration, country states, in addition to disciplines.
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Additional info for Aesthetic Practices and Politics in Media, Music, and Art: Performing Migration (Routledge Research in Cultural and Media Studies)
He drawls to a colleague behind the Vargases. They all turn their heads from the camera and look over their shoulders to see Jim. “Sure. It’s Mr. Vargas,” Jim answers. The convertible, forgotten by the officers but not the viewers, ticks away. ” Jim continues. “On the trail of a chocolate soda for my wife,” Vargas answers, emphasizing the unaccustomed word ‘wife’ with the shy pride of a newlywed. The couple leaves, to our momentary relief, only to circle back into the frame (and danger) for more chatting with the guards about the drug lord named Grandi whom Vargas has recently arrested.
Vargas was of course speaking circa 1958, when the real President Eisenhower had just started Operation Wetback to make the open border a bit less so. S. administration has tried to tighten the open border even more, waging war on drugs, illegal immigration, and terrorists (from Mexico or the Middle East). S. ”1 There would be no need of machine guns, with every inch observed by high-tech cameras and sensors and/or blocked by a wall. Elsewhere Payan writes, “The border is a paradoxical place. It is at once a place of opportunity and entrapment.
But Welles began the reversal process from the onset in his fi rst encounter with the subject matter. 11 The good guy is the Mexican detective Vargas (married, contrary to the source novel, to an American wife); the bad guy is the American police captain Quinlan. The most troubling scene—the fake rape and drugging of Susan Vargas—happens not in ‘dirty’ and ‘unsafe’ Mexico but in ‘clean’ and ‘safe’ America. And yet the fl ipping of the binaries is itself further muddled. The Mexican detective Vargas is played by the obviously American Charlton Heston, coming right off his appearance as the lawgiver Moses in The Ten Commandments (1956).