By Rocío G. Davis, Dorothea Fischer-Hornung, Johanna C. Kardux
This quantity analyzes leading edge varieties of media and track (art installations, T.V. ads, images, movies, songs, telenovelas) to envision the functionality of migration in modern tradition. notwithstanding migration reports and media stories are ostensibly various fields, this transnational choice of essays addresses how their interconnection has formed our realizing of the paradigms wherein we predict approximately migration, ethnicity, country, and the transnational. Cultural representations intrude in collective ideals. artwork and media basically effect 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 place of origin are imagined. one of the subject matters thought of are new mediated varieties 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 appreciate to migration, kingdom 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)
S. myth of frontier expansion into the realm of space exploration, reading/writing aliens through the Native American image. 5 Pursuing Pfitzer’s intuition, one could suggest that if science fiction appropriates the frontier myth, it implicitly addresses the Spanish/Mexican presence, which after the Mexican-American War raised questions of immigration along the new international border. Paradigms of Attitudes Toward Immigration 17 The analysis can be contextualized by recalling Diedrich Diederichsen’s observation on Hollywood’s tendency to divide migrants into two distinct types: those who productively contribute to the melting pot and their opposites, the phobically perceived, natural disaster-like subhuman floods of evil masses that threaten to undermine the national welfare.
Interdependent, the resolution of the main plot threat facilitates wrapping up the other two. The Thing interrupts the Hendry/Nikki romance by distracting Hendry, although ironically also forces the lovers to adjust their roles: Hendry transforms from common seducer to heroic protector and Nikki from hard-living, hard-drinking, active equal to softer, domestic, passively submissive female. When humans battle the alien most fiercely, the Thing swipes his mighty arm at Nikki, threatening the protagonist’s object of desire.
Attitudes toward immigration. The former incarnates Diederichsen’s “natural disaster-like dehumanized floods of evil masses,” populations whose utility fades when they violate the limits of movement and reject assimilation in favor of maintaining their alien difference. Moreover, they remain and multiply, threatening to overwhelm the host with unassimilable hordes of different beings who not only would compete for resources but also could bleed dry their hosts, outnumbering and eventually eliminating them completely.
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