The Migrant Image

In The Migrant Image T. J. Demos examines the ways contemporary artists have reinvented documentary practices in their representations of mobile lives: refugees, migrants, the stateless, and the politically dispossessed. He presents a sophisticated analysis of how artists from the United States, Europe, North Africa, and the Middle East depict the often ignored effects of globalization and the ways their works connect viewers to the lived experiences of political and economic crisis. Demos investigates the cinematic approaches Steve McQueen, the Otolith Group, and Hito Steyerl employ to blur the real and imaginary in their films confronting geopolitical conflicts between North and South. He analyzes how Emily Jacir and Ahlam Shibli use blurs, lacuna, and blind spots in their photographs, performances, and conceptual strategies to directly address the dire circumstances of dislocated Palestinian people. He discusses the disparate interventions of Walid Raad in Lebanon, Ursula Biemann in North Africa, and Ayreen Anastas and Rene Gabri in the United States, and traces how their works offer images of conflict as much as a conflict of images. Throughout Demos shows the ways these artists creatively propose new possibilities for a politics of equality, social justice, and historical consciousness from within the aesthetic domain.

In The Migrant Image T. J. Demos examines the ways contemporary artists have reinvented documentary practices in their representations of mobile lives: refugees, migrants, the stateless, and the politically dispossessed. He presents a sophisticated analysis of how artists from the United States, Europe, North Africa, and the Middle East depict the often ignored effects of globalization and the ways their works connect viewers to the lived experiences of political and economic crisis. Demos investigates the cinematic approaches Steve McQueen, the Otolith Group, and Hito Steyerl employ to blur the real and imaginary in their films confronting geopolitical conflicts between North and South. He analyzes how Emily Jacir and Ahlam Shibli use blurs, lacuna, and blind spots in their photographs, performances, and conceptual strategies to directly address the dire circumstances of dislocated Palestinian people. He discusses the disparate interventions of Walid Raad in Lebanon, Ursula Biemann in North Africa, and Ayreen Anastas and Rene Gabri in the United States, and traces how their works offer images of conflict as much as a conflict of images. Throughout Demos shows the ways these artists creatively propose new possibilities for a politics of equality, social justice, and historical consciousness from within the aesthetic domain.

In recent years, spectacular images of ruined boats, makeshift border camps, and beaches littered with life vests have done much to consolidate the politics of movement in Europe. Indeed, the mediation of migration as a crisis has worked to shore up various forms of militarized surveillance, humanitarian response, legislative action, and affective investment. Bridging academic inquiry and artistic and activist practice, the essays, documents, and artworks gathered in Moving Images interrogate the mediation of migration and refugeeism in the contemporary European conjuncture, asking how images, discourses, and data are involved in shaping the visions and experience of migration in increasingly global contexts.

Perception and representation of newcomers and immigrants The topic of migration has become particularly contentious in national and international debates. Media have a discernable impact on overall societal attitudes towards this phenomenon. Polls show time and again that immigration is one of the most important issues occupying people’s minds. This book examines the dynamic interplay between media representations of migrants and refugees on the one hand and the governmental and societal (re)actions to these on the other. Largely focusing on Belgium and Sweden, this collection of interdisciplinary research essays attempts to unravel the determinants of people’s preferences regarding migration policy, expectations towards newcomers, and economic, humanitarian and cultural concerns about immigration’s effect on the majority population’s life. Whilst migrants and refugees remain voiceless and highly underrepresented in the legacy media, this volume allows their voices to be heard. Contributors: Leen d’Haenens (KU Leuven), Willem Joris (KU Leuven), Paul Puschmann (KU Leuven/Radboud University Nijmegen), Ebba Sundin (Halmstad University), David De Coninck (KU Leuven), Rozane De Cock (KU Leuven), Valériane Mistiaen (Université libre de Bruxelles), Lutgard Lams (KU Leuven), Stefan Mertens (KU Leuven), Olivier Standaert (UC Louvain), Hanne Vandenberghe (KU Leuven), Koen Matthijs (KU Leuven), Kevin Smets (Vrije Universiteit Brussel), Jacinthe Mazzocchetti (UC Louvain), Lorraine Gerstmans (UC Louvain), Lien Mostmans (Vrije Universiteit Brussel), and François Heinderyckx (Université libre de Bruxelles) Ebook available in Open Access. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content). With thanks to the funding provided by Belspo (Belgian Science Policy Office), as part of the framework programme BRAIN-be (Belgian Research Action Through Interdisciplinary Networks), contract nr BR/165/A4/IM2MEDIATE.

Mobility and Migration in Film and Moving Image Art explores cinematic and artistic representations of migration and mobility in Europe from the 1990s to today. Drawing on theories of migrant and diasporic cinema, moving-image art, and mobility studies, Bayraktar provides historically situated close readings of films, videos, and cinematic installations that concern migratory networks and infrastructures across Europe, the Middle East, and Africa. Probing the notion of Europe as a coherent entity and a borderless space, this interdisciplinary study investigates the ways in which European ideals of mobility and fluidity are deeply enmeshed with forced migration, illegalization, and xenophobia. With a specific focus on distinct forms of mobility such as labor migration, postcolonial migration, tourism, and refugee mobilities, Bayraktar studies the new counter-hegemonic imaginations invoked by the work of filmmakers such as Ayşe Polat, Fatih Akin, Michael Haneke, and Tony Gatlif as well as video essays and installations of artists such as Kutluğ Ataman, Ursula Biemann, Ergin Çavuşoğlu, Maria Iorio and Raphaël Cuomo. Challenging aesthetic as well as national, cultural, and political boundaries, the works central to this book envision Europe as a diverse, inclusive, and unfixed continent that is reimagined from many elsewheres well beyond its borders.

The migrants must leave the forest, but the journey proves to be a dangerous battle of love and loss.

Explores and analyzes the historical context and significance of the iconic Dorothea Lange photograph of a migrant mother during the Grea Depression.

The US was in the midst of the Depression when Dorothea Lange (1895-1965) began documenting its impact through depictions of unemployed men on the streets of San Francisco. Her success won the attention of Roosevelt's Resettlement Administration (later the Farm Security Administration), and in 1935 she started photographing the rural poor under its auspices. One day in Nipomo, California, Lange recalled, she "saw and approached [a] hungry and desperate mother, as if drawn by a magnet." The woman's name was Florence Owens Thompson, and the result of their encounter was seven exposures, including Migrant Mother. Curator Sarah Meister's essay provides a fresh context for this iconic work.