By Rocío G. Davis, Dorothea Fischer-Hornung, Johanna C. Kardux
This quantity analyzes leading edge sorts of media and track (art installations, tv ads, images, motion pictures, songs, telenovelas) to ascertain the functionality of migration in modern tradition. although migration experiences and media stories are ostensibly diverse fields, this transnational choice of essays addresses how their interconnection has formed our knowing of the paradigms by which we expect approximately migration, ethnicity, country, and the transnational. Cultural representations interfere in collective ideals. paintings and media basically impression 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 various media, the authors study how migration is represented in movie, tv, song, and paintings, but additionally how media form the ways that host state and place of origin are imagined. one of the subject matters thought of are new mediated types for representing migration, widening the viewpoint at the methods those representations should 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 resources for Aesthetic Practices and Politics in Media, Music, and Art: Performing Migration (Routledge Research in Cultural and Media Studies)
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).
In response to my question about the last scene, Robert Wise responded that as a statement against the reactionary mood regarding both freedom of expression and racial intolerance, he had consciously chosen to feature faces from different races, cultures, and geographic origins in the last scene. This gives more significance to the fact that the scientist who has collaborated with Klaatu to organize the summit of alternative world leaders is told by the military, just before Klaatu emerges from the ship to address the crowd, that the meeting must be suspended.
Klaatu embodies the European “high-culture” immigrant, capable of speaking English better than his hosts. 16 Whereas the Thing never changes his foreign appearance, Klaatu assimilates to human dress. The Thing hovers on the periphery of the human camp and even fights with man’s best friend, the dog, whereas Klaatu resides at the heart of the human community, a family-style boarding house, where he befriends Bobby. Both are feared, but we shun the Thing and sympathize with, even desire, Klaatu. The topic of the female as the focus of conflict over alien migration reflects this basic dichotomy.