The ghostly matter of asylum in Kivu Ruhorahoza's A Tree Has Fallen (Europa).
This paper applies Avery Gordon's insights in Ghostly Matters to Kivu Ruhorahoza's 2019 film, A Tree Has Fallen, and vice-versa. For Gordon, the ghost reveals visibility itself to be "a complex system of permissions and prohibitions." The ghost is a case, as Gordon puts it, of "visible invisibility,...
| Publicado en: | Tydskrif vir Letterkunde Vol. 56; no. 1; pp. 24 - 38 |
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| Formato: | Artículo |
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Tydskrif vir Letterkunde
2019
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=137103911&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 137103911 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 0041476X 162I jtl: Tydskrif vir Letterkunde issn: 0041476X maglogo: N pubinfo: dt: 2019 vid: 56 iid: 1 pid: 71603 pub: Tydskrif vir Letterkunde artinfo: ui: 137103911 10.17159/2309-9070/tvl.v.56i1.6269 ppf: 24 ppct: 14 formats: fmt: @attributes: type: P size: 8.7MB tig: atl: The ghostly matter of asylum in Kivu Ruhorahoza's A Tree Has Fallen (Europa). aug: au: Higgins, MaryEllen affil: MaryEllen (Ellie) Higgins is Associate Professor of English at the Pennsylvania State University su: Ruhorahoza, Kivu Ghosts in motion pictures Political refugees Protagonists (Persons) in literature Subjectivity in motion pictures sug: subj: Ruhorahoza, Kivu Ghosts in motion pictures Political refugees Protagonists (Persons) in literature Subjectivity in motion pictures keyword: African cinema asylum Avery Gordon Ghostly Matters Kivu Ruhorahoza ab: This paper applies Avery Gordon's insights in Ghostly Matters to Kivu Ruhorahoza's 2019 film, A Tree Has Fallen, and vice-versa. For Gordon, the ghost reveals visibility itself to be "a complex system of permissions and prohibitions." The ghost is a case, as Gordon puts it, of "visible invisibility," of seeing that one is not there. In Ruhorahoza's film, the protagonist, Simon, is an African asylum seeker in the UK, now a ghost. Even before he becomes ghostly matter, Simon is already ghostly: he is held in limbo, consistently denied, deemed threatening, highly visible yet rendered invisible, a figure whose claims to a past are deemed invalid in official channels. For Gordon, the ghost is a liminal presence, "what appears dead, but is nevertheless powerfully alive." In Ruhorahoza's film, the protagonist appears to be alive, but is nevertheless powerfully dead. Gordon notes the refusal of modern social scientists to acknowledge, or to speak to ghosts: what happens when British subjects speak to its African ghosts, and vice versa? This paper investigates what the ghostly relations in the film suggest about political subjectivity, visibility, and the politics of asylum. Potentially, the essay offers a reading of what may no longer be visible in Ruhorahoza's film, as the essay was written before Ruhorahoza edited A Tree Has Fallen, transformed it, and re-titled it Europa. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Tydskrif vir Letterkunde is the property of Tydskrif vir Letterkunde and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Tydskrif vir Letterkunde holder: Tydskrif vir Letterkunde dt: @attributes: year: 2019 holdings: @attributes: islocal: N |
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