Stephanie Hemelryk Donald Is Distinguished Professor of Film at Th E University of Lincoln and Previous ARC Future Fellow at the University of New South Wales
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View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Lincoln Institutional Repository i Stephanie Hemelryk Donald is Distinguished Professor of Film at Th e University of Lincoln and previous ARC Future Fellow at the University of New South Wales. Her research covers fi lm, the media and children’s experiences in the Asia- Pacifi c region, with a particular focus on visual culture. She is co-editor of Inert Cities: Globalization, Mobility and Suspension in Visual Culture (I.B.Tauris, 2014) and Childhood and Nation in Contemporary World Cinema (2017), among other publications. 9781784534233_pi-262.indd i 31-Jan-18 4:09:15 PM ii Migrant Han girl, Xinjiang, © Tom Cliff . 9781784534233_pi-262.indd ii 31-Jan-18 4:09:15 PM iii Series Editors: Lúcia Nagib, Professor of Film at the University of Reading Julian Ross, Research Fellow at the University of Westminster Advisory Board: Laura Mulvey (UK), Robert Stam (USA), Ismail Xavier (Brazil), Dudley Andrew (USA) Th e Tauris World Cinema Series aims to reveal and celebrate the richness and com- plexity of fi lm art across the globe, exploring a wide variety of cinemas set within their own cultures and as they interconnect in a global context. Th e books in the series will represent innovative scholarship, in tune with the multicultural character of contemporary audiences. Drawing upon an international authorship, they will challenge outdated conceptions of world cinema, and provide new ways of under- standing a fi eld at the centre of fi lm studies in an era of transnational networks. Published and forthcoming in the World Th e Battle Lines of Beauty: Th e Politics, Cinema series: Aesthetics and Erotics of West African Cinema Allegory in Iranian Cinema: Th e Aesthetics By James Stuart Williams of Poetry and Resistance By Michelle Langford Brazil on Screen: Cinema Novo, New Cinema, Utopia Animation in the Middle East: Practice By Lúcia Nagib and Aesthetics from Baghdad to Casablanca Th e Cinema of Jia Zhangke: Realism and Edited by Stefanie Van de Peer Memory in Chinese Film By Cecília Mello Basque Cinema: A Cultural and Political History Th e Cinema of Sri Lanka: South Asian Film By Rob Stone and María Pilar in Texts and Contexts Rodriguez By Ian Conrich and Vilasnee Tampoe-Hautin 9781784534233_pi-262.indd iii 31-Jan-18 4:09:15 PM iv Contemporary New Zealand Cinema: From On Cinema New Wave to Blockbuster By Glauber Rocha Edited by Ian Conrich and Stuart Murray Edited by Ismail Xavier Contemporary Portuguese Cinema: Palestinian Filmmaking in Israel: Globalising the Nation Narratives of Place and Identity Edited by Mariana Liz By Yael Freidman Cosmopolitan Cinema: Cross-cultural Performing Authorship: Self-inscription Encounters in East Asian Film and Corporeality in the Cinema By Felicia Chan By Cecilia Sayad Documentary Cinema: Contemporary Queer Masculinities in Latin American Non-fi ction Film and Video Worldwide Cinema: Male Bodies and Narrative By Keith Beattie Representations By Gustavo Subero Documentary Cinema of Chile: Confronting History, Memory, Trauma Realism in Greek Cinema: From the By Antonio Traverso Post-war Period to the Present By Vrasidas Karalis East Asian Cinemas: Exploring Transnational Connections on Film Realism of the Senses in World Cinema: Edited by Leon Hunt and Leung Wing-Fai Th e Experience of Physical Reality By Tiago de Luca East Asian Film Noir: Transnational Encounters and Intercultural Dialogue Th e Spanish Fantastic: Contemporary Edited by Chi-Yun Shin and Mark Filmmaking in Horror, Fantasy and Sci-fi Gallagher By Shelagh-Rowan Legg Film Genres and African Cinema: Stars in World Cinema: Screen Icons and Postcolonial Encounters Star Systems Across Cultures By Rachael Langford Edited by Andrea Bandhauer and Michelle Royer Impure Cinema: Intermedial and Intercultural Approaches to Film Th ai Cinema: eTh Complete Guide Edited by Lúcia Nagib and Anne Jerslev Edited by Mary J. Ainslie and Katarzyna Ancuta Latin American Women Filmmakers: Production, Politics, Poetics Th eorizing World Cinema Edited by Deborah Martin and Deborah Edited by Lúcia Nagib, Chris Perriam and Shaw Rajinder Dudrah Lebanese Cinema: Imagining the Civil War Viewing Film and Beyond By Donald Richie By Lina Khatib Queries, ideas and submissions to: New Argentine Cinema By Jens Andermann Series Editor: Professor Lúcia Nagib – [email protected] New Directions in German Cinema Edited by Paul Cooke and Chris Series Editor: Dr. Julian Ross – Homewood [email protected] New Turkish Cinema: Belonging, Identity Cinema Editor at I.B.Tauris, Maddy and Memory Hamey-Th omas – By Asuman Suner [email protected] 9781784534233_pi-262.indd iv 31-Jan-18 4:09:15 PM v There’s no place like home The migrant child in world cinema STEPHANIE HEMELRYK DONALD 9781784534233_pi-262.indd v 31-Jan-18 4:09:15 PM vi Published in 2017 by I.B.Tauris & Co. Ltd London • New York www.ibtauris.com Copyright © 2017 Stephanie Hemelryk Donald Th e right of Stephanie Hemelryk Donald to be identifi ed as the author of this work has been asserted by the author in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. Every attempt has been made to gain permission for the use of the images in this book. Any omissions will be rectifi ed in future editions. References to websites were correct at the time of writing. Tauris World Cinema Series ISBN: 978 1 78453 423 3 eISBN: 978 1 78672 286 7 ePDF: 978 1 78673 286 6 A full CIP record for this book is available from the British Library A full CIP record is available from the Library of Congress Library of Congress Catalog Card Number: available Printed and bound by CPI Group (UK) Ltd, Croydon, CR0 4YY 9781784534233_pi-262.indd vi 31-Jan-18 4:09:15 PM vii Contents List of Figures ix Acknowledgements xi I n t r o d u c t i o n 1 1 Th e Dorothy Complex 17 2 Th e Red Balloon and Squirt’s Journey: story- telling with child migrants 43 3 Once My Mother, Welcome and Le Havre : breath and the child cosmopolitan 71 4 Little Moth and Th e Road: precarity, immobility and inertia 95 5 Landscape in the Mist 121 6 Th e Leaving of Liverpool: Empire and religion, poetry and the archive 141 7 Diamonds of the Night 173 A ft erword: Where have all the children gone? 195 N o t e s 203 B i b l i o g r a p h y 243 F i l m o g r a p h y 261 I n d e x 263 vii 9781784534233_pi-262.indd vii 31-Jan-18 4:09:15 PM viii 9781784534233_pi-262.indd viii 31-Jan-18 4:09:15 PM ix Figures F r o n t i s p i e c e : Migrant Han girl, Xinjiang, © Tom Cliff . 1.1 ‘Girl waiting for train to Xinjiang’, Railroad of Hope , screen shot. 32 1.2 ‘Kylie’s heelies in close-up’, Kisses, screen shot. 37 1.3 ‘Dorothy in the tornado’, Th e Wizard of Oz, screen shot. 41 1.4 ‘Maria running’, White Material, screen shot. 42 2.1 ‘Molly and her cousins on the whitening plains, early example of digital colour manipulation’, Rabbit-Proof Fence , image courtesy Australian Film Archive, RMIT Melbourne, permission courtesy Christine Olsen. 49 2.2 ‘Molly and her cousins at the fence’, Rabbit-Proof Fence , courtesy RMIT University Melbourne, Australian Film Archive, and Christine Olsen. 50 2.3 ‘Filling in reference grids, Guangzhou 2014’, image courtesy of the author, the children and Ming Liang. 65 2.4 ‘Storyboarding, Guangzhou, 2014’, image courtesy of the author, the children and Ming Liang. 66 2.5 ‘Storyboard for an animation, Guangzhou 2014’, image courtesy of the author, the children and Ming Liang. 67 3.1 ‘Helen, the fi lm- maker’s mother’, Once My Mother , source image, courtesy Sophia Turkiewicz. 82 3.2 ‘Refugee camp in southern Africa’, Once My Mother , source image, courtesy Sophia Turkiewicz. 83 3.3 ‘Sophia, arms crossed, very upset’, Once My Mother , source image, courtesy Sophia Turkiewicz. 84 ix 9781784534233_pi-262.indd ix 31-Jan-18 4:09:15 PM x Figures 3.4 Detail from ‘Idrissa in the water’, Le Havre , screen shot. 93 4.1 ‘Little Moth and Guihua begging, with narrative on ground’, Little Moth, screen shot. 118 4.2 ‘Little Moth alone on the bridge, fi nal scene’, Little Moth, screen shot. 118 5.1 ‘Voula at the back of the truck aft er the rape’, Landscape in the Mist, screen shot. 125 6.1 Illustration from the Father Berry Homes annual report, 1895, courtesy Nugent Archive, Liverpool Hope University. 154 6.2 Illustration from the Father Berry Homes annual report, 1895, courtesy Nugent Archive, Liverpool Hope University. 155 6.3 ‘Lily and Bert in Sydney’, Th e Leaving of Liverpool, cast shot, image courtesy Australian Film Archive, RMIT Melbourne, permission courtesy ABC Archive. 163 7.1 ‘Ants on the boy’s hand’, Diamonds of the Night . Courtesy Czech Republic Film Archive. 175 7.2 ‘ Th e boys murdered by the old men, their boots and feet wrappings evident’, Diamonds of the Night, image courtesy TIFF Archive. Courtesy Czech Republic Film Archive. 181 8.1 Detail, ‘Exuviate II: Where have all the children gone?’, artist, Jin Nü.