Necro- and Geopolitics: Antonioni’s "The Passenger"

  • Michael J. Shapiro Department of Political Science, University of Hawai’i at Manoa (Estados Unidos)
DOI: https://doi.org/10.5209/GEOP.62457
Keywords: cinematic practices, photography, colonial violence, personal violence, Africa

Abstract

The bookends of this article are analyses of two kinds of Africa-situated visual texts. It begins with a focus on Michelangelo Antonioni’s film The Passenger (1975), a movie simultaneously about a personal and cartographic drama, involving the micropolitics of the violent life of a journalist and a space with a legacy of colonial violence, the Africa country of Chad. It ends with a focus on the photography of Santu Mofokeng, which expresses a community of sense among Black citizens in post-Apartheid South Africa.

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How to Cite
Shapiro M. J. (2018). Necro- and Geopolitics: Antonioni’s "The Passenger". Geopolítica(s). Revista de estudios sobre espacio y poder, 9(2), 195-208. https://doi.org/10.5209/GEOP.62457
Issue
Vol. 9 No. 2 (2018)
Section
Invited Articles

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