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A renewed anthropology of images.

Representing exile around the Mediterranean sea since 2000

Those who did not cross, 2005-2015, Levi Westerveld, geographer

Let's reset the clock, flm, Elsa Gomis, 2014

The doctoral thesis that I wish to complete within the cluster Culture, Practise and Aesthetics of the
Geography Department of the University of Sheffeld deals with the representation of exile, in particular
regarding the Mediterranean Sea as a place of transit for forced migrations to Europe. Considering in particular
post-colonial experiences, my research project would examines exile as a prolonged separation from one's
country by force of circumstances and not as a summary of the act of displacement. Representation would be
regarded as a political process from the viewpoint of aesthetic and political science.
By developing a phenomenology of exile as a state of a mind and a way of being in the world, I will draw my
research on a corpus composed together with contemporary directors and visual artists, and question it as a
specifc spacial perception of the territories. Its aim is to show how those mental images lead to a renewed
anthropology of images, questioning the notion of border: the border between fctitious and documentary
images and the border between countries. The exile across the Mediterranean would then be explored from
the notions of memory, colonisation, borders and cartography.

it seems to be at the forefront in areas such as Cultural Geography. artists and journalists seizing the memory of these departures? Using the notion of metapicture as by Mitchell I would consider images as migrants i and explore his assumption which links the destruction of images to the production of displaced people somewhere else within the world. such as the flm set or the storytelling. displacement. my research project could fnd an ideal ground for development under the direction of Dr. Thus the representation of the homeland would be a relevant way of understanding our conceptions of the territory. how could European colonisation be considered as setting an imperialist fction in Africa in which the Mediterranean could be the place of transition leading settlers to reality? My research starts from the premise that the formal distinction between documentary and fctitious images is outdated. 2017 – Establishing an interview grid for the interview to Publication of the interview of H-F. of which 50 percent are children. Miguel Gomes or Zineb Sedira will be more specifcally analysed. For example. the idyllic image of the Mediterranean will be shown as a painful screen behind which there is a need to redefne the legal framework designating these migrations as “illegal”. 2018 explore aesthetic effects of being exiled. I will meet with Aline Caillet to learn how cinematic documentary escapes from its relation to reality to become an hybrid form. Dubow. Marie-Josée Mondzain and Emmanuel Alloa July 2018 . Establishing the contribution of images of exile to Preparation an article for Progress June the renewal of an anthropology of images in Human Geography 2018 Interview with Aline Caillet. Working under her supervision. Determining and organising the detailed plan Creation of an observatory of the Sept. If the identity of a people is founded by the country which gave them birth. Because of her background in art history and due to her commitment in the former AHRC Speculative Grant Archive of Exile. I want to pursue a PhD within this cluster because from what I have read and experienced.” iiFor others. I will also investigate how reality could be fctionalized to be thought studying specifc works of Jacques Rancière and Marie-José Mondzain. The works of Tom Conley and Teresa Castro concerning the cartographic thought of images will be examined to see whether the act of mapping could infuence cinema itself and vice versa. From there. this movement is powered by a dual irresistible movement of impregnation and resistance to the world. migration and postcolonial theory.More than 60 million people left their countries in 2015. Ferran embodies this tension with her flm Bird Peopleiii which premise is the lack of separation between the world and our individualities and reminds us that our bodies contain the fngerprints of the collective contexts in which they operate. Imbert (done during the Master) Interview with Noit Banai and Hamid Nafcy Attending the colloquium March 2018 . “the world has become more open to fows of capital and commodities but more closed to the circulation of human bodies. As Mezzadra and Neilson have pointed out. I have written two forthcoming articles about this topic and plan to submit papers to academic journals. exile. represent their country of origin? How are directors. The practices of directors and visual artists such as Jalil Joreige and Joana Hadjithomas. the practical tools of the images. Considering that political fctions refect our aesthetic representations as echoes. for the exiles this could be built as a palimpsest born of the successive impregnation of the crossed countries. 2018 Reinvest and drawing up the publications. Feb. Subject to myths since Homer's Odyssey. the images of exile study days and interviews into the chapters of the plan . I would like to bring a practical resonance to my work by continuing my artistic practice. I wish to explore how the colonial imaginary world might still exist today in the way borders are pictured in cartographies as impervious as the drawing lines which defned them on the maps. This body considered as a support is for Deleuze that which “carries the peaks of deterritorialisation” iv. this project would greatly beneft from her expertise. would be used as an evaluation grid to seize the policies toward the Mediterranean area. Areas of research Submission of proposals Oct. In particular. How will these populations.

Formatting of the text Oct. MuCEM. 2 0 1 9 . 2018 . My earlier career has also given me in-depth experience of working in a project-oriented context. genealogy of a territory. 2 0 1 9 Proofreading of the thesis I believe that my former studies in law and my work experience as a Senior Manager provide me with a useful insight regarding issues of migration which affects in particular the constitutional settlement of the states. Drafting of the introduction and the conclusion Aug. I have experienced that it helps my own understanding of cinematic material to approach a topic from different angles. The Mediterranean as Seeking of partners and fundings confict. I also taught visual arts at two primary schools in Paris and I am looking forward to teaching as a part of my PhD position if there are such opportunities. Apart from the reward of helping someone to understand a material. to fnd one that is suitable for the person I am explaining to. which I fnd valuable when conducting research. Archives consultation of the exhibitions: Setting of a study day about the May 2019 Splitting continents. Conley) Marseille Means of interventions Between Myth and Fright. Valencia Institute of Modern Art May 2019. (Castro.Sept. Sète cartographic thought of the images Made in Algeria. 2019 Keywords index End of detailed drafting Aug. . CRAC.

1996 . 2003 CAILLET Aline Dispositifs critiques. "Capitalisme et schizophrénie". October. 2013 HORNSTI Karina Remains of Rescue and Confnement: Humanitarian Bordering in Lampedusa . Routledge. Minneapolis.Bibliography of planned reading Articles DUBOW Jessica “Archive of Exile. Minuit. 2016 McGONAGLE Joseph Travelling in Circles: Postcolonial Algiers in Zineb Sedira's Saphir. 2011 CONLEY Tom Cartographic Cinema. 2009 DIDI-HUBERMAN Georges Peuples en larmes. Paris. Paris. 2002 BOURDIEU Pierre Images d'Algérie. 51. ENTRIKIN J. Medium. Actes Sud. n°1. 2011 BELTING Hans An Anthropology of Images: Picture. March 23rd. Available at: https://www. Rennes. L'Esprit Créateur review Vol.law. Presses Universitaires de Rennes. Spring 2011 POTTE-BONNEVILLE Mathieu and ZAOUI Pierre interview with Georges DIDI-HUBERMAN S'inquiéter devant chaque image. Aléas. Le documentaire du cinéma aux arts visuels. une affnité élective. Les Presses du Réel. Introduction”. Vacarme review n°37.uk/research-subject-groups /centre-criminology/centreborder- criminologies/blog/2015/09/remains-rescue (Accessed [09/28/2016]) JOLY Patrice Are we all migrants ?. pp. Galilée. Payot. RICHARDSON Douglas (eds. London. The Prosthesis of Origin). Making Worlds: Geography and the Humanities.) Envisioning Landscapes. Body. Cinéma et culture visuelle. Paris. 2016 DERRIDA Jacques Le monolinguisme de l'autre ou la prothèse d'origine (Monolingualism of the Other or. DE LYSER Dydia. 2006 Works AGAMBEN Giorgio Qu'est-ce qu'un dispositif? (What is a dispositive?). 11.1-5. Parallax 19:4. Lyon. Paris. 2014 CASTRO Teresa La Pensée cartographique des images. 2007 ALLOA Emmanuel Penser l'image. "Zérodeux". book by Franz Schultheis and Christine Frisinghelli.ac. 2011 BAUSSANT Michèle Pieds-noirs. Arles. 2011 DELEUZE Gilles et GUATTARI Félix Mille Plateaux. Princeton University Press. Princeton. peuples en armes. University of Minnesota Press.ox. Nicholas. Paris. 2007 DANIELS Stefen. Stock. mémoires d'exils. Paris. Minuit.

2004 Writings of artists. 2016 MONDZAIN Marie-José Images à suivre. Berkeley. 2015 . Politics. (In the Name of Identity). N. Réalité et fction en confit. Space. Paris.J. 2011 MAALOUF Amin Les identités meurtrières. followed by Le temps des amoureuses. University of California Press. Paris. Arles. Paris. 2015 STEGMANN Petra and SEEL Peter C. House of World Cultures. (Dreamings of the Wild woman: primitives scenes). De la poursuite au cinéma et ailleurs. New York. Exclusion and Survival. 1998 MANNIK Lynda Migration by boat. Paris. 1994 CIXOUS Hélène CALLE-GRUBER Mireille and CIXOUS Hélène Hélène Cixous. photos de racines. Montrouge. 2000 GOMES Miguel REGNIER Isabelle Miguel Gomes : Entre l'Afrique réelle et une Afrique de cinéma. 2013 IMBERT Henri-François IMBERT Henri-François Le temps des images. Le Livre de Poche. 2011 SCOTT Emily Eliza and SWENSON Kirsten Critical Landscapes. (eds) Migrating images: producing . (Images. 2000 LAGEIRA Jacinto De la déréalisation du monde. Discourses of Trauma. La Fabrique. Hazan. Édition des femmes. 2012 HADJITHOMAS Joana et JOREIGE Jalil Le cinéma de Joana Hadjithomas et Khalil Joreige. (The First Man). 1994 CIXOUS Hélène Les rêveries de la femmes sauvage. dir. carnets de travail. Independencia.GONSETH Marc-Olivier. interviews with Quentin Mével. Scènes du régime esthétique de l'art. Paris. 2011 NAFICY Hamid An Accented Cinema: Exilic and Diasporic Filmmaking. Actes Sud. Berghahn Books. Paris. 2001 RANCIÈRE Jacques La politique de l'autre. Paris Gallimard. Cinergon. writtings about artists CAMUS Albert CAMUS Albert Le premier homme. Bayard. Jean-Philippe Trias. 1997 Aisthesis. The pursuit in cinema and elsewhere). interviews with Cyril Neyrat. Le Monde. Neuchâtel. (The Cause of the Other).transporting – translating. Art. Independencia. Galilée. Berlin. Paris. : University Press. Scènes primitives. HAINARD Jacques and KAERH Roland Derrière les images (Behind the pictures). 4 décembre 2012 Au pied du mont Tabou : le cinéma de Miguel Gomes. Ethnography Museum.reading . to be continued. Princeton.

eight-channel video (color. sound). Paris. album souvenir. 70 min. Zahia Rahmani et Jean-Yves Sarazin (dir). Généalogie d’un territoire. coedition Hazan. Miguel. 2000 Selective flmography Belinchón Sergio. Je veux voir (I want to see). London and Paris. 2008 Made in Algeria. Avalancha. 75 mn. Cherbourg-Octeville.. Le Point du jour. Tabu. 2003 Bouchra. Bureau des Compétences et des Désirs. 16 mm transferred to DVD. Zineb. color flm. Prod. Khalili.. color flm. 118 min. 2012 Zineb and Richard DYER SEDIRA Zineb Sedira. Gianfranco. Henri-François. color flm. Part 1: projection 6 min.. Exode. Saphir.. 2 h 6 min. Mapping Journey Project. Galilée. Libre Cours Prod. Pascale. BBC. 2008-2011 Rosi. KEO Films. The Photographer's Gallery/Kamel Mennour and Paris Musees. Part 2: monitor 8 min. 2016 PEREC Georges PEREC Georges Espèces d'espaces. No Pasaràn. color flm. Beneath The Surface. O Som e a Fúria Prod. Archipel 35. 2008 Bluemel James. 2012 Joana Hadjithomas et Khalil Joreige. Two screens video installation with sound.. Stemal Entertainment. color flm. 90 min. catalogue of the exhibition.KHALILI Bouchra KHALILI Bouchra Story Mapping. 2014 Gomes. 2016 Sedira. 1h 54min. Coprod. 3 screens projection. Paris. Kamel Mennour. 2010 SEDIRA Zineb OBRIST Hans Ulrich Zineb Sedira. Prod. (Species of Spaces and Other Pieces). Mille et une productions. 2006 MARKER Chris LAMBERT Arnaud Also know as Chris Marker. 2016 Ferran. Marseille. Bird People. 7'04 min looped. black and white and color flm. 2016 . Fuocoammare. Les terres de mon père. CANAL+. MuCEM. 2008 Imbert.

Idolatry in Migrating images: producing .net/transversal/0608/mezzadraneilson/en iii Pascale Ferran. or.i W.reading . 2014 iv Personal translation. 16 ii Sandro Mezzadra and Brett Neilson. Letter from Gilles Deleuze to Michel Foucault of 1977. published in Le magazine littéraire.T. Archipel 35 Prod. Petra Stegmann and Peter C. the Multiplication of Labor. Bird People. color flm. 2004. Border as Method. Mitchell.transporting – translating. Migrating images.. Berlin. p. European Institute for Progressive Cultural Policies: http://eipcp. Totemism. Fetishism. Seel (eds). House of World Cultures. 2h6 min. n°325.J. October 1994 .

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