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- W4379391162 abstract "This chapter focuses on arguably the most contested and mediatised border of Europe. Although France has some 600 km of Mediterranean coastline, the vast majority of migrants and refugees enter Europe via two of the nation’s neighbours, Italy and Spain. The chapter approaches films about migrant crossings in the Mediterranean in relationship to national film industries, co-production initiatives, and the politics of representation. Given the open borders between Schengen nations, people arriving in Lampedusa are as much a French concern as those waiting to leave Calais. National cinema is therefore in itself not able to present an adequate representation of and response to the alarming humanitarian crisis that has been transpiring along Europe’s Mediterranean frontier since at least 2008. I take examples of transnational co-productions between France and Italy and assess how they deal with European space and the ethical dimensions of France’s role in the European migrant and refugee ‘crisis’. I argue that the concept of cinéma-monde, which is fundamentally concerned with borders and ethics of encounters and openness, provides an apt framework for describing how transnational film functions in relation to, but also beyond, directly French or francophone border concerns. By mapping Europe’s borders through the cinéma-monde optic, I engage with complex and multivalent discussions about the complexity of the continent’s southern perimeter, a borderline often viewed in stark binary terms. The three French–Italian co-productions are Eden à l'ouest (Costa-Gavras, 2009), Terraferma (Emanuele Crialese, 2011), and Mediterranea (Jonas Carpignano, 2015)." @default.
- W4379391162 created "2023-06-06" @default.
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- W4379391162 date "2023-05-23" @default.
- W4379391162 modified "2023-09-23" @default.
- W4379391162 title "Screen borders and ‘cinema worlds’" @default.
- W4379391162 doi "https://doi.org/10.7765/9781526164247.00009" @default.
- W4379391162 hasPublicationYear "2023" @default.
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