This article embarks from George Lakoff and Mark Johnson’s embodied understanding of metaphor in linguistic contexts and proceeds beyond merely an extended notion of “visual” metaphor toward an operational understanding of the term “allegory” in the cinematic context. Specifically, a pattern of Sisyphean landscape allegory in a global array of postwar narrative cinema is identified and explored, in which a psychologically conflicted protagonist struggles against a resistant natural landscape, connoting varying degrees of existential “futility.” The recurrent experiential configuration of this modernist allegory on screen, especially in terms of its haptic dimensions, is explored for its ability to “invoke” social critique—as felt, visceral content.
Sisyphean Landscape Allegory in Cinema
Jacques Tati and Inattentional Blindness
Eric Faden, Aaron Mitchel, Alexander Murph, Taylor Myers, and Nathan C. Ryan
This article examines the work of mid-century French filmmaker Jacques Tati. Tati suggested that his films allow more visual freedom to audiences and that audiences discover new material upon multiple viewings of his films. We review the scholarship on Tati, especially in relation to critic André Bazin’s theories of realism, and then propose another model for understanding Tati’s films: the psychological concept of inattentional blindness. The article then discusses our experiment using eye tracking technology to study how subjects watch Tati’s films versus other types of cinema and also how they re-watch films. Finally, we applied several statistical and mathematical tests to the eye tracking data to understand key differences between Tati’s films and other filmmaking practices.
Michael J. Richardson
I have carried Connell's work with me as I have embarked on a career within human geography with specialist interest in gender and generation. Although my empirical lens has shifted and expanded in different ways and at different times, those same theoretical underpinnings have remained in place. I found myself returning to Connell's work on The Men and The Boys in my most recent academic work, namely through a “young dads and lads” project. Particularly noteworthy are the ways in which these young men move (and are moved by others) in between “boyhood,” “manhood,” and back again. Connell's work helps me understand how processes of childhood socialization gendered these boys, and how as young men they are gendered still through processes of fatherhood. I am left questioning what is left behind when boys become men. I also am left needing to thank Raewyn for my lectureship—perhaps these reflections will go some way toward doing so.
‘Refugee 2 Refugee’ Care and Solidarity in Greece
This article examines how grassroots refugee-activists and ‘solidarians’ in Greece articulate a collectivist political vision and praxis of care through an expanding network of social obligation that upends narrow understandings of refugees’ ‘basic’ rights and moral obligations of care. The refugees draw on a wide range of universalising collectivist frames including Islamic, Anarcho-Marxist and Palestinian-liberationist frames to articulate visions of solidarity and nurture trust and mutual care amongst refugees.
Rebecca M. Schreiber
This article examines how Central American migrant and refugee youth imagine forms of sanctuary through collaborative artwork as part of a series of Arte Urgente (Urgent Art) workshops led by artist Caleb Duarte. This artwork involved a critical embodiment and reenvisioning of their past and present experiences in the form of performance. In addition, their creation of a symbolic Embassy of the Refugee was an imaginative way of asserting their right to protection. This article examines how members of affected communities have made artistic interventions into public spaces to focus attention on the nation-state as a site of crisis as well as envision autonomous, noninstitutional sanctuary spaces for each other, while also engaging in ongoing practices of solidarity with other displaced people.
The Self and Other in Isolation: An Interview with Saiful Huq Omi, followed by The Human that Is Lacking: A response to Saiful Huq Omi's photograph
Yousif M. Qasmiyeh and Saiful Huq Omi
In this interview, Yousif M. Qasmiyeh enters into conversation with Saiful Huq Omi, an award-winning photographer and filmmaker and founder of Counter Foto-A Centre for Visual Arts in Dhaka, Bangladesh, on issues spanning from photography in the era of COVID and what it means, in this situation of stasis and containment worldwide, to continue photographing; to the intimate as revealed by the photograph; photographing (across) different geographies and national borders; on Rohingya refugees as both the photographed and the unphotographed; the archive and the afterlives of photography; and, finally, how to envision an equitable future between the photographer and the photographed.
In the form of poetic fragments, “The Human that is Lacking” offers a response to Saiful Huq Omi's photograph reproduced in these pages, in an attempt to “co-see” the image with the photographer. The image and its response sit alongside Yousif M. Qasmiyeh's interview with the award-winning photographer and film-maker himself (also in this issue).
A Religious yet Public Case for Welcoming Refugees
Since the beginning of Europe's “refugee crisis,” Pope Francis has repeatedly argued that we should welcome refugees. This, he said, is an obligation for Christians who have “a duty of justice, of civility, and of solidarity.” This religious justification is a problem for liberal political philosophers who are committed to the idea of public reason: state action, they argue, must be justified to all citizens based on public, generally accessible reasons. In this article, I argue that the claim that liberal public reason fully excludes religion from the public sphere is misguided; not all religious reasons are incompatible with the demands of Rawlsian public reason. Understanding how a religious reason can be public requires looking into both what makes a reason religious and what makes a reason public. I show that the pope's reason supporting the claim that we should welcome refugees is both religious and public.
The nineteenth-century science of “optography” was based on the idea that an image of the last thing seen at the moment of death would be imprinted on the retina. This idea was inspired by the invention of photography, which reinforced the mechanistic notion of the eye as a camera, and it was frequently criticized in nineteenth-century literary texts, in which eyes more often record images generated from within the mind. Belief in optography began to wane at roughly the same time that cinema became a popular form of entertainment, but it continued to appear in several films in which severed eyes function as cameras or optical implants are used to record visual impressions that can be viewed after the death of the subject. This article examines how these optographic narratives continued to reinforce the mechanistic notion of visual perception on which film technology was thought to depend.
This article focusses on Al-Nur, a community centre in Istanbul, Turkey, that caters to Syrian and Palestinian Syrian refugees. It is based on five months of fieldwork conducted in the winter and spring of 2017 in Turkey that included participant observation as a volunteer English teacher at Al-Nur. A focus on the philosophy that guides Al-Nur's functioning as a community centre as well as on the stories of displacement of some of its managers and volunteers sheds light on the importance of being able to (re)create home in exile. Such a focus also sheds light on how repeated displacement has shaped Palestinian Syrian refugees’ experiences of exile from Syria as well as their interactions with Syrian refugees.
Refugee-Refugee Hosting in a Faith-Based Context
This article discusses “refugee-refugee hosting” in a faith-based context. It looks particularly at Congolese churches in Kampala, Uganda, that play a crucial role for Congolese refugees seeking refuge and protection. The article analyzes hybrid forms of hosting in a faith-based context and discusses the implications of this for how guest and host categories are perceived. Four different patterns of refugee-refugee hosting are explored in which the relationship between host and guest as well as pastor and church member differ. The article argues that social status and hierarchies are important for how hosting is practiced. Moreover, religious ideas of gift giving, sacrifice, and reciprocity also influence hosting in this context.