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Alien Affects: Movement, Migration, and Landscapes of Citizenship

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Alien Affects: Movement, Migration, and Landscapes of Citizenship University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 1-1-2016 Alien Affects: Movement, Migration, and Landscapes of Citizenship Michael Andrew Lechuga University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Film and Media Studies Commons, Philosophy Commons, and the Rhetoric and Composition Commons Recommended Citation Lechuga, Michael Andrew, "Alien Affects: Movement, Migration, and Landscapes of Citizenship" (2016). Electronic Theses and Dissertations. 1132. https://digitalcommons.du.edu/etd/1132 This Dissertation is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. Alien Affects: Movement, Migration, and Landscapes of Citizenship __________ A Dissertation Presented to the Faculty of Arts and Humanities University of Denver __________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy __________ by Michael Lechuga June 2016 Advisor: Dr. Darrin Hicks ©Copyright by Michael Lechuga 2016 All Rights Reserved Author: Michael Lechuga Title: Alien Affects: Movement, Migration, and Landscapes of Citizenship Advisor: Dr. Darrin Hicks Degree Date: June 2016 Abstract Alien Affects is a materialist examination of the ways citizenship landscapes are shaped by three mechanisms of control—extraterrestrial film, border security, and the legal apparatuses of the State—that accelerate flows of dominant national citizenship and hinder the movements of migrants. As bodies move through borders and through communities in the US, they are subjected to techniques of citizenship control that divide citizens from aliens. This political division maximizes the State’s capacity to benefit from the mobility of its preferred citizen groups while subjugating its alien groups—those who might be characterized as such because they have a different tone (skin tone, vocal tone, affective tone). These techniques channel alien groups into citizenship control apparatuses (surveillance, detention, and deportation) where there movements are limited; often-benefiting private detention apparatuses those invested in them. Alien Affects sets out to explicate the threefold relationship occurring within the cultural-military-industrial complex between cinema (namely extraterrestrial arrival cinema), migration control apparatuses, and the defense of constitutive citizenship laws. I am arguing that what connects each of these aspects of citizenship landscaping are the technologies of illumination (and those who develop them) that add layers of visibility to articulations of state power. The development of these technologies is funded by the US’s lawmakers and they are used to create filmic alien affects in today’s Hollywood ii alien arrival films. Bordering agents also adopt them to amplify alien affects on bodies moving through migration control apparatuses. The method used in this examination not only draws attention to the ways technologies are mobilized in each of these mechanisms, but also focuses on the flows that are moving between them. iii Table of Contents Part I Introduction ......................................................................................................................1 A Rhetoric of the Visible……..............................................................................5 Citizenship Landscapes in the United States........................................................9 Studying Alien Technologies that Shape Landscapes of Citizenship..................14 Looking Ahead……….........................................................................................20 Chapter One: Geographic Citizen Landscapes: Migrant Flows and State Control........26 Landscaping..........................................................................................................30 Today’s Geographic Landscape of Citizenship Control.......................................40 Migrants, Movement, and Nomadism..................................................................50 Changing Citizen Landscapes .............................................................................58 Chapter Two: Cinematic Citizen Landscaping: Alien Affects and the Filmic Technologies of Illumination................................................................................62 Extensive and Intensive Movement......................................................................64 Alien Affects and Collective Articulations of Alienhood.....................................69 Cinematic Citizen Landscaping............................................................................73 Today’s Cinematic Landscape of Citizenship Control.........................................86 Unscrambling Codes.............................................................................................95 Part II Introduction......................................................................................................................99 A Material Study of the Citizenship Control Assemblage..................................102 Chapter Three: Predator Technologies..........................................................................109 Predator...............................................................................................................110 Predator Technologies and Border Security........................................................119 Predator Technologies and Unlawful Alien Entry...............................................130 Final Thoughts on Predator Technologies...........................................................141 Chapter Four: Men in Black Technologies.....................................................................143 Men in Black........................................................................................................144 Men in Black Technologies and Border Security................................................153 Men in Black Technologies and Unlawful Alien Movement..............................171 Final Thoughts on Men in Black Technologies...................................................181 iv Chapter Five: Nomad Alien Technology........................................................................183 Nomadism, Territoriality, and the State Legal Mechanisms of Citizenship........185 Resistance on the Geographic Surface of Citizenship.........................................192 Nomadic Thought on the Cinematic Surface of Citizenship...............................204 Final Thoughts on Making Cuts..........................................................................216 Concluding Remarks.......................................................................................................218 Justification for a Rhetorical Study of Alien Affects..........................................219 Trajectories..........................................................................................................221 List of References............................................................................................................228 v PART I Introduction Orson Welles’ (1958) Touch of Evil is heralded as one of cinema’s most influential films for a number of reasons, including its depictions of racism, nationalism, corruption, and other issues tied to the United States (US)/México border (Stubbs, 1998; Murch, 1998; McCalmont, 2009). The film’s opening scene is also famous; it is a single, three-minute shot depicting a young couple crossing a border checkpoint from México into the US while a car carrying a bomb passes in and out the shot (McCalmont). A border agent greets the couple at the border checkpoint and is shocked to hear that Mike Vargas (Charlton Heston with exaggerated dark make-up, hair dye, a distinct mustache, and a terrible Spanish accent) and Susie Vargas (Janet Leigh as a fair-skinned, fair-haired US citizen) are married. Just seconds after they pass through, the ticking convertible drives out of the scene where the bomb eventually goes off. This three-minute, twenty- second, anxiety-inducing scene at the beginning of Touch of Evil is one of cinema’s earliest portrayals of bordering: a process where alien bodies are identified and filtered into the US under highly intense conditions. It was produced by Welles to be scene of 1 volatility, where bodies with different national and ethnic tones are shown moving through a geographic boundary between two nations (Stubbs; Chapman, 2012). In that opening sequence, Welles uses a combination of lighting and camera techniques along with music and sound effects to create the transition from México into the US (Cumbow, 2008; Chapman; McCalmont; Murch). Welles shot the film in Venice, CA because “it looked convincingly rundown and decayed” (Sanchez, 2011); it was illuminated and filmed in a way to appear as if Los Robles, a Mexican border town, were run-down and corrupt (Chapman; Cumbow). Despite the relatively few light sources in the town, McCalmont points out that it was illuminated precisely in a way to give viewers better understanding of the border landscape. Cumbow reiterates this sentiment; that in order to help an audience make sense of the film, Welles inspires a cinematic “understanding of the geography of that border town” by illuminating Los Robles and it’s residents with long shadows and high
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