Parvati Nair – författare

Bringing together scholars and practitioners from a range of disciplinary backgrounds working in Europe, North and South America, South Asia and the Middle East, this volume explores the question of how to ensure that migration research feeds back into improving the lives of migrants. It emphasises the necessarily interdisciplinary and cross-boundary nature of migration research, offering methodological recommendations to anyone studying or working in the field, and showing how migration studies can usefully affect real contexts by better exploring the potential that exists for both bridging academic disciplines and building links with work that occurs beyond strictly academic forums. Organised around the themes of methodological considerations and interdisciplinary approaches, the experiences of migrants as researchers and interaction between practitioners, policy-makers and academics, Migration Across Boundaries discusses the realities of the discourses that surround international migration, examining the proper role of academia in bringing together a range of stakeholders to formulate dialogic approaches to understanding migration. An international and interdisciplinary contribution to our understanding of how research in migration can be brought to bear on the experiences of migrants and linked to the work of activists, artists and policy-makers, this book will appeal not only to scholars and students of migration across the social sciences, but also to those working in the fields of migrant advocacy and activism.

A Different Light is the first in-depth study of the work of SebastiÃo Salgado, widely considered the greatest documentary photographer of our time. For more than three decades, Salgado has produced thematic photo-essays depicting the massive human displacement brought about by industrialization and conflict. These projects usually take years to complete and include pictures from dozens of countries. Parvati Nair offers detailed analyses of Salgado’s best-known photo-essays, including Workers (1993) and Migrations (2000), as well as Genesis, which he began in 2004. With Genesis, Salgado has turned his lens from human turmoil to those parts of the planet not yet ravaged by modernity. Interpreting the photographer’s oeuvre, Nair engages broad questions about aesthetics, history, ethics, and politics in documentary photography. At the same time, she draws on conversations with Salgado and his wife and partner, LÉlia Wanick Salgado, to explain the significance of the photographer’s life history, including his roots in Brazil and his training as an economist; his perspectives; and his artistic method. Underpinning all of Salgado’s major projects is a concern with displacement, exploitation, and destruction-of people, communities, and land. Salgado’s images exalt reality, compelling viewers to look and, according to Nair, to envision the world otherwise.

Focusing on the Mediterranean region from 2015 onwards, this volume explores photography’s engagement with displacement, a process that denotes the environmental and social breakdown of places and the forced mobility of people.The ongoing proliferation of photography of the displaced plays a crucial role in shaping opinions, by sensitising the public to the despair of displacement and hardening them to the trope through repeated exposure. Through a range of images by both established and amateur photographers, as well as ethnographic notes that draw from interviews with actors who are either displaced or working with the displaced, Parvati Nair questions the extent to which photography opens a space of possibility for the displaced in the face of globally dominant ideological drives that lead to the Anthropocene. Chapters focus on key aspects of this mass phenomenon, such as the question of crises no longer as exception but as historical process, the lived experiences of protracted relegation to borders and exposure to possible death, the prevalence of domicide and the spread of encampments, and the question of hope for the future.The book will be of interest to scholars in photography theory, migration and refugee studies, art history, Mediterranean studies, and political science.

Focusing on the Mediterranean region from 2015 onwards, this volume explores photography’s engagement with displacement, a process that denotes the environmental and social breakdown of places and the forced mobility of people.The ongoing proliferation of photography of the displaced plays a crucial role in shaping opinions, by sensitising the public to the despair of displacement and hardening them to the trope through repeated exposure. Through a range of images by both established and amateur photographers, as well as ethnographic notes that draw from interviews with actors who are either displaced or working with the displaced, Parvati Nair questions the extent to which photography opens a space of possibility for the displaced in the face of globally dominant ideological drives that lead to the Anthropocene. Chapters focus on key aspects of this mass phenomenon, such as the question of crises no longer as exception but as historical process, the lived experiences of protracted relegation to borders and exposure to possible death, the prevalence of domicide and the spread of encampments, and the question of hope for the future.The book will be of interest to scholars in photography theory, migration and refugee studies, art history, Mediterranean studies, and political science.

Bringing together scholars and practitioners from a range of disciplinary backgrounds working in Europe, North and South America, South Asia and the Middle East, this volume explores the question of how to ensure that migration research feeds back into improving the lives of migrants. It emphasises the necessarily interdisciplinary and cross-boundary nature of migration research, offering methodological recommendations to anyone studying or working in the field, and showing how migration studies can usefully affect real contexts by better exploring the potential that exists for both bridging academic disciplines and building links with work that occurs beyond strictly academic forums. Organised around the themes of methodological considerations and interdisciplinary approaches, the experiences of migrants as researchers and interaction between practitioners, policy-makers and academics, Migration Across Boundaries discusses the realities of the discourses that surround international migration, examining the proper role of academia in bringing together a range of stakeholders to formulate dialogic approaches to understanding migration. An international and interdisciplinary contribution to our understanding of how research in migration can be brought to bear on the experiences of migrants and linked to the work of activists, artists and policy-makers, this book will appeal not only to scholars and students of migration across the social sciences, but also to those working in the fields of migrant advocacy and activism.

This volume examines the films of Hispanic and Lusophone women filmmakers from the 1930s to the present day. It establishes productive connections between film practices across these geographical areas by identifying common areas of concern on the part of these female filmmakers. Focusing on aesthetic, theoretical and socio-historical analyses, it questions the manifest or latent gender and sexual politics that inform and structure the emerging cinematic productions by women filmmakers in Portugal, Spain, Latin America and the US. With a combination of scholars from the UK, the US, Spain and Latin America, the volume documents and interprets a fascinating corpus of films made by Hispanic and Lusophone women and proposes research strategies and methodologies that can expand our understanding of socio-cultural and psychic constructions of gender and sexual politics. An essential resource to rethink notions of gender identity and subjectivity, it is a unique contribution to Spanish and Latin American Film Studies and Film Studies.

What does the portrayal of gender in film reveal about Spanish society? To what extent and in what ways does cinema contribute to constructions of national and regional identity? How does gender interact with ethnicity, class, politics and history?Gender and Spanish Cinema addresses these questions and more in its examination of twentieth-century film. Defining 'gender' in its broadest sense, the authors discuss topics such as body, performance, desire and fantasy. Gender is not considered in isolation, but is discussed in relation to nationalism, race, memory, psychoanalyisis and historical context. The chapters are wide-ranging, dealing with subjects such as Buuel, cinema under Franco, 1950s melodrama and Pedro Almodvar.Bringing together leading academics from the UK, US and Spain, this volume examines the diversity of gender representation in Spanish cinema through a range of genres. A filmography and illustrations enhance the text.