Studying films that focus on migration to and within the European Union (EU) in our most recent era of globalization reveals a web of neocolonial relations that render geographical space both mobile and variable for migrant subjects and points to the problematics of disregarding spatial identities as significant determinants of migrants' subject positions. This Thesis examines four films: Stephen Frears' Dirty Pretty Things (2006) in comparison to Anthony Minghella's Breaking and Entering (2008) and Leon de Aranoa's Princesas (2005) in comparison to Iciar Bollain's Flores de Otro Mundo (1999). I argue that a comparative analysis of these film pairs reveals that in order to effectively and productively theorize contemporary migrant subjects within the EU, we must attend to various subjects' unique subject positions with regard to race, ethnicity, class, gender, sexuality, and citizenship status, as well as to the dynamics of the geopolitical relations between the countries of emigration and immigration.
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机译:研究在我们最近的全球化时代着重于向欧洲联盟(EU)内部和内部的迁移的电影,发现了一系列新殖民主义的关系,这种关系使地理空间对于移民主体而言既具有流动性又具有可变性,并指出了忽视空间身份的问题很重要。移民主体地位的决定因素。本论文研究了四部电影:斯蒂芬·弗雷尔斯的《肮脏的美丽事物》(2006年)与安东尼·明格拉(Anthony Minghella)的《闯入》(Breaking and Entering)(2008年);莱昂·德·阿拉诺阿(Leon de Aranoa)的《普林塞萨斯》(2005年)与伊恰尔·布兰(Iciar Bollain)的《弗洛雷斯·德·奥特罗·蒙多》(Flores de Otro Mundo)(1999年)。我认为,对这些电影对的比较分析表明,为了在欧盟范围内有效和高效地理论化当代移民主体,我们必须关注各个主体在种族,族裔,阶级,性别,性别和性取向方面的独特主体地位。公民身份,以及移民和移民国家之间地缘政治关系的动态。
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