Apologies for cross-posting
***
/Moving People, Moving Images: Cinema and Trafficking in the New Europe/
ISBN (13): 978-1-9066-7803-6 (paperback)
Price £17.99 (UK), $29.00 (US)
257pp.
Available for purchase from: http://www.st-andrews.ac.uk/filmbooks
<https://webmail.st-andrews.ac.uk/horde/util/go.php?url=http%3A%2F%2Fwww.st-andrews.ac.uk%2Ffilmbooks&Horde=fdd0143e356fe469629c357086ce25c8>
and from online booksellers, Amazon.
In the past decade, the dramatic rise in migration and the demise of
national borders across the ‘new’ Europe have helped to turn human
traffic into one of the dominant narratives of contemporary cinema.
/Moving People, Moving Images /focuses on the current cycle of films
that play upon global anxieties about trafficking and reflects on recent
films that depict white slavery, drug trafficking and undocumented
labour. The volume considers a range of films including the work of
internationally renowned directors such as /Promised Land /(Amos Gitaï),
/Lorna’s Silence /(the Dardenne Brothers) and /Ghosts /(Nick
Broomfield), popular genres such as /Taken /(Pierre Morel), and lesser
known but unquestionably important works such as /The Bus/ (Tunç Okan)
and /When Mother Comes Home for Christmas/ (Nilita Vachani).
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‘/Moving People, Moving Images/ is a groundbreaking and much-needed
study of the intersections between film and human trafficking… This
volume is both a complete and valuable teaching tool, and a precious
resource for future research, and sets the agenda for more work in this
all-important area.’
--- Laura Rascaroli, University College Cork, Ireland
/‘/One of the attractions of this book is precisely that it refuses to
tread lightly and tentatively across the well-established divide between
cinematic representations and socio-political issues. It makes a
provocative argument for the political effect of films and proposes that
human trafficking should not be the rightful, let alone the exclusive,
domain of governments, NGOs, activist organizations and the social
sciences.’
-- Aniko Imre, University of Southern California
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*About the authors: *
* *
William Brown teaches Film Studies at the University of St Andrews. His
research interests include digital technology and cinema, cognitive
approaches to cinema, and transnational cinema. His work has been
published in various journals and edited collections, and he is the
co-editor of /Deleuze and Film/ (Edinburgh University Press, 2011). He
is the editor/manager of the collaborative film blog,
http://cinemasalon.ning.com <http://cinemasalon.ning.com/>.
Dina Iordanova has built an academic career as a specialist on the
cinema of Eastern Europe and the Balkans. Her more recent work is
focused on business models and distribution patterns within the
international film industries. She is Director of the Centre for Film
Studies at the University of St Andrews in Scotland, where she leads The
Leverhulme Trust-funded project ‘Dynamics of World Cinema’
(www.st-andrews.ac.uk/worldcinema). She is also the editor and publisher
of the /Film// Festival Yearbook/ (FFY) series, which has recently
released /Film Festival Yearbook 2: Film Festivals and Imagined
Communities/. Her recent work appears in /Cinema at the Periphery/
(2010) and her blog, /Dinaview.com/.
Leshu Torchin teaches Film Studies at the University of St Andrews. Her
research focus is on screen media, advocacy, and human rights. Her work
has appeared in a range of publications including /Third Text/, /Film &
History/, /American Anthropologist/, and /Cineaste/ and in collections
such as /The Image and the Witness//: Trauma, Memory and Visual Culture
/(Wallflower, 2007). She is currently completing her book project,
/Creating the Witness: Genocide in the Age of Film, Video and the Internet/.
--
Dr Leshu Torchin
Lecturer in Film Studies
University of St Andrews
99 North Street
St. Andrews, Fife
KY16 9AD
Scotland, UK
Email: [log in to unmask]
Tel: +44 (0)1334 467476
Fax: +44 (0)1334 467464
The University of St Andrews is a charity registered in Scotland: No SC01353
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