Poetics of Refraction
Bibliographic Data
| ID | 21320738 |
|---|---|
| Authors | Christian Rossipal (corresponding author) |
| Year | 2021 |
| Volume | 74 |
| Issue | 3 |
| Pages | 35-45 |
| Publication date | 2021-03-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Film Quarterly (JOURNAL) |
| Journal identifiers | ISSN: 0015-1386 • E-ISSN: 1533-8630 |
| Publisher | University of California Press (PUBLISHER • US) |
| DOI | 10.1525/fq.2021.74.3.35 |
| OpenAlex | W3134355861 |
| Language | EN |
| Citations received | 3 |
Reduced to temporary guests, victims, threats, or enemies, those who are forced to seek refuge have to navigate a political minefield. To seek recognition in the public sphere is an especially treacherous endeavor under these conditions. Faced with a range of imposed identities–including the refugee label itself–the quest for “more visibility” through documentary images is fraught with contradictions for the displaced. This article considers the ways in which filmmakers and artists with experience of displacement work with documentary methods and forms in the face of these extreme difficulties. As they challenge and seek alternatives to conventional forms of documentary, a range of new expressions and tendencies can be discerned in the wake of “The European Refugee Crisis,” from so-called participatory documentary to essayistic and more experimental approaches. The article discusses, among other films, Purple Sea (2020), Midnight Traveler (2019), and My New European Life (2019)
Aesthetics · Art · Citizen journalism · Displacement (psychology) · Face (sociological concept) · Geography · Literature · Media studies · Midnight · Poetics · Political science · Politics · Public sphere · Refugee · Social science · Sociology · Visibility · Visual arts · Cinema and Media Studies · Law · Memory, Trauma, and Commemoration · Psychology
| Citations per year | 1.5 |
|---|---|
| Citation span | 2024 - 2026 (3) |
| Highly cited | No |