Cinematic Perspectives on International Law. Edited by Olivier Corten & François Dubuisson. Manchester: Manchester University Press, 2021. 240 + viii pages.

Abstract

Cinematic Perspectives on International Law is an edited collection that sets out to provide an introduction to the field of film analysis from an international legal perspective.1 It also aims to explore what depictions of international law are presented by films and why they are presented. Edited by Olivier Corten and François Dubuisson, who are both professors at the Université libre de Bruxelles, with the assistance of Martyna Fałkowska-Clarys, the managing editor of The Military Law and Law of War Review, the twelve chapters in this book cover a variety of topics through the analysis of primarily Western films. Overall, the editors accomplish their goals effectively while providing an accessible and enjoyable read from this student reviewer’s perspective. The book’s opening chapter offers a brief overview of the history of the study of international law in film as a field and explains the book’s purpose and methodology. The first cinematic example that Corten and Dubuisson use comes from The Bridge on the River Kwai, an example that is discussed in a few other chapters within the work.2 The film is a natural fit for the book, bearing specific reference to international law while also being a film that earned widespread acclaim internationally. The authors do an excellent job of explaining the film’s narrative and historical context, and they dive into a thorough analysis that sets the standard for analysis in the chapters that follow. The next two chapters analyze specific international law concepts within thefilm genre of science fiction (or “sci-fi” as it is often called). Chapter 2, by Marco Benatar, focuses on the explorations of both idealist and realist portrayals of international law. He refers to idealist portrayals as those that present international law as an inspirational and powerful force for good, while realist portrayals generally focus more on the power politics inherent within the function of international law. Chapter 3, by Vincent Chapaux, explores inter-species relations and particularly speciesism. Chapaux analyzes depictions of speciesism between humans and extra-terrestrial aliens and sentient robots in science fiction. These chapters cite many popular cinematic works — from classics like Star Trek and Doctor Who to modern