Cosmopolitics in Border Film
Amores Perros(2000) andSleep Dealer(2008)
Bibliographic Data
| ID | 3852430 |
|---|---|
| Authors | Markus Heide (0000-0002-2359-4484, Cal Poly Humboldt, corresponding author) |
| Year | 2013 |
| Volume | 11 |
| Issue | 1 |
| Pages | 89-108 |
| Publication date | 2013-03-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Comparative American Studies An International Journal (JOURNAL) |
| Journal identifiers | ISSN: 1477-5700 • E-ISSN: 1741-2676 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1179/1477570012z.00000000028 |
| OpenAlex | W2085854210 |
| Language | EN |
| Citations received | 3 |
| References cited | 15 |
The complex Mexico city drama Amores Perros and the Latino science fiction film Sleep Dealer explore issues of transnational identification and critique on different levels of cinematic communication: as productions targeting a general, universal young audience; as visual texts that illustrate and negotiate the distribution of images and data in a world of accelerated globalization; as film narratives centred on questions of human mobility and migration; as works of art scripted and directed by individuals who live and work in different countries. This study reads Amores Perros and Sleep Dealer in the context of the history of border film and analyses how the two films position themselves in contemporary debates on critical cosmopolitanism and economic globalization. As border films, set in Mexico, their cinematic politics go beyond local and national perspectives. Both films provide self-reflexive narratives about the topic of resistance within the space of global capitalism and contribute to the contemporary discourse of cosmopolitics
Aesthetics · Art · Drama · Globalization · Humanities · Literature · Media studies · Narrative · Political science · Politics · Reflexivity · Social science · Sociology · Visual arts · Gender Studies · History · Law · Media Studies and Communication
| Citations per year | 0.27 |
|---|---|
| Citation span | 2015 - 2023 (9) |
| Highly cited | No |