Résumés
Abstract
This article focuses on four relatively early Italian and Spanish films treating “illegal” migrations across the Mediterranean: Imanol Uribe’s Bwana (1996), Llorenç Soler’s Saïd (1998), Vincenzo Marra’s Tornando a casa (2001) and Marco Tullio Giordana’s Quando sei nato non puoi più nasconderti (2005). The analysis predominantly looks at representations of the categories “space” and “place,” which refer both to the spatial structures of the films themselves and to the ideological structures through which the clandestines migrate. The focus of this investigation concentrates on the (border) places linked to “illegal” immigration and proposes four categories through which to understand the cinematic practice of locating irregular migration.
Résumé
Cet article se penche sur quatre films italiens et espagnols, parmi les premiers à traiter de la migration clandestine d’outre-Méditerranée : Bwana d’Imanol Uribe (1996), Saïd de Llorenç Soler (1998), Tornando a casa de Vincenzo Marra (2001) et Quando sei nato non puoi più nasconderti de Marco Tullio Giordana (2005). L’analyse s’attarde essentiellement aux notions d’« espace » et de « lieu » ainsi qu’à leurs représentations, lesquelles évoquent à la fois les structures spatiales des films eux-mêmes et les structures idéologiques qui jalonnent la migration des clandestins. Plus précisément, cette étude se concentre sur ces lieux frontaliers qui sont directement liés à l’immigration « illégale » et propose quatre catégories permettant d’approfondir le traitement cinématographique des migrations irrégulières.
Parties annexes
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