Resisting Topographies: Immigration, Space and the City in Contemporary British Film
Resisting Topographies: Immigration, Space and the City in Contemporary British Film
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抵抗地形：当代英国电影中的移民、空间和城市
DOI：
10.1163/9789004369313_005
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通讯作者：
Schneider
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作者：
Schneider
英国的城市空间可以说是对移民的动机和目的的抵制，而与此同时，移民也发展出了对城市强加给他们的空间限制的抵制策略。空间意义的研究方法提供了一些概念，通过这些概念，可以捕捉到物质空间与附加于它们的意义之间的紧张关系。他们还指出了居住在这些空间的做法的重要性。在简要讨论了移民与城市空间的关系以及一些理论概念之后，本章将探讨三部英国电影，它们上演并协商了这种双面的抵抗关系。通过阅读2002年的斯蒂芬·弗里斯的《肮脏的漂亮东西》、2004年的肯尼斯·格伦的《亚斯敏》和2006年的安东尼·明格拉的《破门而入》，我将在电影建立的整体空间语义的背景下，探讨移民角色发展的各种空间应对策略以及抵抗和挪用的倾向。
Urban space in Britain can be said to offer resistance to the motives and aims of immigrants, while at the same time immigrants develop strategies of resistance towards the spatial constraints the city imposes on them. Approaches to the meaning of space have offered concepts with which the tensions between material spaces on the one hand and the meanings attached to them on the other can be captured. They have also pointed to the importance of the practices of inhabiting these spaces. After a brief discussion of the ways in which migrants relate to urban spaces and a discussion of some theoretical concepts, this chapter will look at three British films that stage and negotiate this two-sided relationship of resistance. In a reading of Stephen Frears’ Dirty Pretty Things from 2002, Kenneth Glenaan’s 2004 film Yasmin, and Anthony Minghella’s Breaking and Entering from 2006, I will explore the various strategies of spatial coping and the tendencies of resistance and appropriation developed by the migrant characters in the context of the overall spatial semantics established by the films.