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When the People Behind the Scenes Come to the Fore

2023Journal article Open access
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dc.contributor.authorGomis, Elsa
dc.contributor.authorMendes, Ana Cristina
dc.date.accessioned2023-04-14T13:11:16Z
dc.date.available2023-04-14T13:11:16Z
dc.date.issued2023
dc.description.abstractIn this essay, the notion of “the people behind the scenes” is used to build a bridge between the cognitive framework of film studies and migration research to describe those who are discursively categorized as “illegal” or “irregular” migrants and whose lives are exploited in the workforce and at risk in “Fortress Europe”. As a natural southern border of the Schengen area, the Mediterranean region sometimes offers fleeting encounters between “illegal” migrants excluded by this border regime and foreign travellers courted by the tourism industry. These ephemeral juxtapositions of people with contrasting political and economic stakes create what we call “visual clashes”, gathering in one frame antithetical human lived experiences of this maritime area. Drawing on Nicholas Mirzoeff’s concept of the “right to look”, which the visual culture theorist and activist uses as a bulwark against a dominant Western regime of visuality, this essay analyses a series of visual texts that bear witness to unwanted encounters by this dominant regime’s visual system of classification and separation. The essay examines two press photographs and television images alongside Elleke Boehmer’s short story “Synthetic Orange”, and analyses a cartographic experiment and a film; each case opposes the authority of Western visuality and makes a claim for the autonomy of the right to look.pt_PT
dc.description.versioninfo:eu-repo/semantics/publishedVersionpt_PT
dc.identifier.citationGomis, E, AC Mendes. 2023. “When the People Behind the Scenes Come to the Fore: Touristic Venues as Zones of Visual Clash”. Interventions: International Journal of Postcolonial Studies. 25. 1–15.pt_PT
dc.identifier.doihttps://doi.org/10.1080/1369801X.2023.2190912pt_PT
dc.identifier.eissn1469-929X
dc.identifier.issn1369-801X
dc.identifier.urihttp://hdl.handle.net/10451/57128
dc.language.isoengpt_PT
dc.peerreviewedyespt_PT
dc.publisherTaylor & Francispt_PT
dc.relation.publisherversionhttps://www.tandfonline.com/doi/full/10.1080/1369801X.2023.2190912pt_PT
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/4.0/pt_PT
dc.subjectPostcolonial studiespt_PT
dc.subjectMigration studiespt_PT
dc.subjectLiteraturept_PT
dc.subjectVisual culturept_PT
dc.subjectVisual studiespt_PT
dc.subjectTourismpt_PT
dc.subjectFilm studiespt_PT
dc.subjectPhotographypt_PT
dc.titleWhen the People Behind the Scenes Come to the Forept_PT
dc.typejournal article
dspace.entity.typePublication
oaire.citation.conferencePlaceUKpt_PT
oaire.citation.endPage15pt_PT
oaire.citation.startPage1pt_PT
oaire.citation.titleInterventionspt_PT
person.familyNameMendes
person.givenNameAna
person.identifier.ciencia-idD214-A7C9-8A02
person.identifier.orcid0000-0002-3596-0701
person.identifier.ridK-9981-2015
person.identifier.scopus-author-id36161897400
rcaap.rightsopenAccesspt_PT
rcaap.typearticlept_PT
relation.isAuthorOfPublication9e8b97a6-733e-4183-aaf7-ac3bfa0674e9
relation.isAuthorOfPublication.latestForDiscovery9e8b97a6-733e-4183-aaf7-ac3bfa0674e9

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