Castle & Crook:工厂之城》(Maquilapolis)和《失踪少女》(Señorita Extraviada)中的亡灵自由主义和遗弃图谱

IF 0.1 3区 艺术学 0 FILM, RADIO, TELEVISION
Edward Avila
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引用次数: 0

摘要

"Castle & Crook "认为,纪录片《Maquilapolis》(工厂之城)(导演:Vicky Funari、Sergio De La Torre,墨西哥/美国,2006 年)和《Señorita Extraviada》(失踪的年轻女子)(导演:Lourdes Portillo,墨西哥/美国,2001 年)为后《北美自由贸易协定》时代至千年之交沿美墨边境的新自由主义现代化的新政治层面提供了重要见解。这两部电影都体现了新自由主义与死亡政治学的交汇点,特别是在新自由主义发展中的死亡权力的空间方面或模式方面。此外,我还将新自由主义和亡灵政治学这种复杂而暴力的组合称为 "亡灵自由主义",以捕捉新自由主义的责任论和审慎论话语在跨国政治活动中复制和维持墨西哥-美国边境地区亡灵政治统治的具体方式。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Castle & Crook: Necroliberalism and Cartographies of Abandonment in Maquilapolis (City of Factories) and Señorita Extraviada (Missing Young Woman)
“Castle & Crook” argues that the documentary films Maquilapolis (City of Factories) (dir. Vicky Funari, Sergio De La Torre, Mexico/US, 2006) and Señorita Extraviada (Missing Young Woman) (dir. Lourdes Portillo, Mexico/US, 2001) offer critical insights into the necropolitical dimensions of neoliberal modernization along the US-Mexico border during the post-NAFTA era through the turn of the millennium. Both films represent the intersection of neoliberalism and necropolitics, particularly in terms of the spatial aspects or modalities of necropower that inhere in neoliberal development. Moreover, I refer to this complex and violent assemblage of neoliberalism and necropolitics as “necroliberalism” in order to capture the specific ways in which neoliberal discourses of responsibilization and prudentialism serve to reproduce and maintain necropolitical governing in the Mexico-US border region in the context of transnational political activism.
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来源期刊
CAMERA OBSCURA
CAMERA OBSCURA FILM, RADIO, TELEVISION-
CiteScore
0.30
自引率
0.00%
发文量
12
期刊介绍: Since its inception, Camera Obscura has devoted itself to providing innovative feminist perspectives on film, television, and visual media. It consistently combines excellence in scholarship with imaginative presentation and a willingness to lead media studies in new directions. The journal has developed a reputation for introducing emerging writers into the field. Its debates, essays, interviews, and summary pieces encompass a spectrum of media practices, including avant-garde, alternative, fringe, international, and mainstream. Camera Obscura continues to redefine its original statement of purpose. While remaining faithful to its feminist focus, the journal also explores feminist work in relation to race studies, postcolonial studies, and queer studies.
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