Advertisement

Documenting Difference: Migration and Identity in European Documentaries

  • Adam VaughanEmail author
Chapter
  • 9 Downloads

Abstract

Vaughan offers an assessment of how recent European documentaries are responding to the ongoing migrant crisis, and, in so doing, he asks how these films trigger a re-evaluation of what it means to be ‘European’. The chapter also summarises how technological developments—such as digital image-making and online viewing platforms—have influenced nonfiction aesthetics and helped to create an interactive viewing culture where spectators are able to participate in these debates. ‘Documenting Difference’ ends with a detailed analysis of Gianfranco Rosi’s Fire at Sea (2016) which encourages audiences to acknowledge the plight of refugees as they arrive on the Italian island of Lampedusa by organising various textual representations of ‘seeing’.

References

  1. Agence France-Presse. 2016. Berlin Film Festival Awards Top Prize to Refugee Crisis Documentary Fire at Sea. The Guardian, February 21. https://www.theguardian.com/film/2016/feb/21/berlin-film-festival-awards-top-prize-to-refugee-crisis-documentary-fire-at-sea.
  2. Aitken, Ian. 2001. European Film Theory and Cinema. Edinburgh: Edinburgh University Press.Google Scholar
  3. Berghahn, Daniela, and Claudia Sternberg. 2010. European Cinema in Motion: Migrant and Diasporic Film in Contemporary Europe. Houndmills, Basingstoke: Palgrave Macmillan.CrossRefGoogle Scholar
  4. Corner, John. 2002. Performing the Real: Documentary Diversions. Television & New Media 3 (3): 255–269.CrossRefGoogle Scholar
  5. Creative Europe. 2018. Welcome to the MEDIA Sub-programme. http://edn.network/edn/. Accessed 5 December 2019.
  6. Demos, T.J. 2013. The Migrant Image: The Art and Politics of Documentary During Global Crisis. Durham, NC: Duke University Press.CrossRefGoogle Scholar
  7. de Michiel, Helen & Zimmermann, Patricia R. 2013. Documentary as an Open Space. In The Documentary Film Book, ed. Brian Winston, Basingstoke, Hampshire: Palgrave Macmillan on behalf of the British Film Institute.Google Scholar
  8. Elsaesser, Thomas. 1990. Early Cinema: Space, Frame, Narrative. London: BFI.CrossRefGoogle Scholar
  9. ———. 2005. European Cinema: Face to Face with Hollywood. Amsterdam: Amsterdam University Press.CrossRefGoogle Scholar
  10. European Documentary Network. 2019. Stimulating Networks & Knowledge Within the Documentary Sector. http://edn.network/edn/. Accessed 5 December 2019.
  11. European Film Academy. 2019. European Film Academy Archive Page. https://www.europeanfilmacademy.org/Archive.39.0.html. Accessed 28 August 2018.
  12. Galt, Rosalind. 2006. The New European Cinema: Redrawing the Map. New York: Columbia University Press.Google Scholar
  13. Godmilow, Jill. 1999. What’s Wrong with the Liberal Documentary. Peace Review 11 (1): 91–98.CrossRefGoogle Scholar
  14. Gunning, Tom. 1990. The Cinema of Attractions: Early Film, its Spectator and the Avant Garde. In Early Cinema: Space, Frame, Narrative, ed. Thomas Elsaesser, 56—62, London: BFI.Google Scholar
  15. Haver, Ron. 1976. Merian C. Cooper: First King of Kong. American Film 11 (3): 14–23.Google Scholar
  16. Hight, Craig. 2013. Beyond Sobriety: Documentary Diversions. In The Documentary Film Book, ed. Brian Winston, Basingstoke, Hampshire: Palgrave Macmillan on behalf of the British Film Institute.CrossRefGoogle Scholar
  17. Imre, Aniko, and Eszter Zimanyi. 2016. Frames and Fragments of European Migration. Transnational Cinemas 7 (2): 118–134.CrossRefGoogle Scholar
  18. Juhasz, Alexandra, and Alisa Lebow, eds. 2015. A Companion to Contemporary Documentary Film. West Sussex: Wiley-Blackwell.Google Scholar
  19. Kushner, Tony. 2016. Lampedusa and the Migrant Crisis Ethics, Representation and History. Mobile Culture Studies Journal 2: 59–92.Google Scholar
  20. Lewis, Randolph. 2007. “The Face of the Other” and Documentaries. The Velvet Light Trap a Critical Journal of Film and Television (60): 83–84.CrossRefGoogle Scholar
  21. Loshitzky, Yosefa. 2010. Screening Strangers: Migration and Diaspora in Contemporary European Cinema. Bloomington, IN: Indiana University Press.Google Scholar
  22. Macaulay, Scott. 2013. 25 New Faces of Independent Film. Filmmaker Magazine. https://filmmakermagazine.com/people/iva-radivojevic-2/#.XBjcI_Z2tyw. Accessed 5 December 2019.
  23. McLane, Betsy A. 2012. A New History of Documentary Film: Second Edition. New York: Continuum.CrossRefGoogle Scholar
  24. Nowell-Smith, Geoffrey. 2007. Italian Neo-realism. In The Cinema Book, ed. Pam Cook, 3rd ed. London: BFI.Google Scholar
  25. Petrie, Duncan. 1992. Screening Europe: Image and Identity in Contemporary European Cinema. London: BFI.Google Scholar
  26. Ponzanesi, Sandra. 2016. Of Shipwrecks and Weddings: Borders and Mobilities in Europe. Transnational Cinemas 7 (2): 151–167.CrossRefGoogle Scholar
  27. Reuschmann, Eva. 2003. Moving Pictures, Migrating Identities. Jackson, MS: University Press of Mississippi.Google Scholar
  28. Winston, Brian. 2013. The Documentary Film Book. Basingstoke: Palgrave Macmillan on behalf of the British Film Institute.CrossRefGoogle Scholar

Copyright information

© The Author(s) 2020

Authors and Affiliations

  1. 1.University of SouthamptonSouthamptonUK

Personalised recommendations