Alphaville: Journal of Film and Screen Media. Issue 18: Refugee Filmmaking
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Item Alphaville Journal of Film and Screen Media podcast. Episode 03, Issue 18, ‘Refugee filmmaking’(Film and Screen Media, University College Cork, 43803) Sorbera, Lucia; Holly, Michael; Goldfish, SuThis discussion between Su Goldfish and Doctor Caroline Linette is based on a dossier for Alphaville Issue 18 on the challenges of separation for refugee filmmaking. It is moderated by Doctor Lucia Sorbera. The recording took place at the Esme Timbery Creative Practice Lab at the University of New South Wales, Sydney, Australia on 14 October 2019.Item Debordering academia: Centring the displaced and exiled in research. Foreword(Film and Screen Media, University College Cork, 2019) Tofighian, Omid; Hemelryk Donald, Stephanie; Davies Hayon, Kaya; Sorbera, LuciaThis issue of Alphaville centres on the work of displaced and exiled filmmakers and directors committed to challenging border violence. This is achieved in part through the work of the academic contributions in the main section, but perhaps most pertinently through the contributions of filmmakers in the two Dossiers. The editorial team in this issue practiced a form of borderless collegiality by imagining a scholarly publication that fosters empowering dialogues between academics, artists, activists and those with lived experience; debordering here begins with the vision of the editorial team and extends into the selection and configuration of contributions.Item The Last Goldfish(Film and Screen Media, University College Cork, 2019) Goldfish, Su; Newman, Joanna; Ewington, Julie; Hemelryk Donald, Stephanie; Sorbera, LuciaA few years before filmmaker Su Goldfish’s father, Manfred Goldfish, died she interviewed him on camera. He was reluctant to talk about the uncomfortable truths of his past, his previous marriage, his two other children and the persecution and murder of his family in Germany. “You can watch all that in a documentary”, he used to say to her. The Last Goldfish (Su Goldfish, 2017) became that documentary. This article contains three responses to the film. The first section, “Losing Harry”, written by Su Goldfish, focuses on the impact Manfred’s experiences had on his son Harry, connecting that experience to the despair of children currently held in the Australian Regional Processing Centre on Nauru. The second part, “Internment”, is written by historian Dr Joanna Newman whose research on refugees in the British West Indies grounds Manfred’s reluctant memories of rescue and internment in Trinidad in historical fact. The third section of this composite reflection, “Citizen of the World”, is a response from curator and scholar Julie Ewington who reflects on the film’s unravelling of hidden traumas and the unspoken histories in families.Item Film as folklore(Film and Screen Media, University College Cork, 2019) Boochani, Behrouz; Tofighian, OmidCodirector Behrouz Boochani offers a critical reflection on Chauka, Please Tell Us the Time in which he discusses the multilayered meanings of the film. He shares his thoughts about his cinematic vision and how it is connected to the land. In this respect, the film cherishes the sanctity of the island’s ecosystem and knowledge system and also criticises the way the Australia-run detention centre degrades nature and the social fabric of the island. Boochani also elaborates on issues pertaining to reception and the way folklore (both Kurdish and Manusian) frames his resistance and critique.Item Telephone calls in Gianfranco Rosi’s Fire at Sea (Fuocoammare, 2016)(Film and Screen Media, University College Cork, 2019) Wilson, Emma; Hemelryk Donald, Stephanie; Davies Hayon, Kaya; Sorbera, LuciaThe Hollywood Reporter feature on Gianfranco Rosi’s Fire at Sea (Fuocoammare, 2016) reads: “Where journalism leaves off, Fire at Sea begins”. The director spent months living alone on Lampedusa looking for ways to film the current refugee tragedy in the Mediterranean. The poetic film that he made (and that won the Golden Bear at Berlin) is an indirect reckoning with its subject, and, I argue no less political for this. Referring to the work of Adriana Cavarero, Christina Sharpe, Anne Dufourmantelle and Judith Butler, this article explores the uses of recorded telephone calls and other transmitted voices and songs in the film. These calls and voices offer forms of appeal and aural, non-visual, but bodily, affective traces. The film emphasises the political importance of listening, and of attending to these calls and voices, envisaging a mesh of connectedness, of threads of human attachment.
