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000165973 0247_ $$2doi$$a10.1080/17400309.2020.1786341
000165973 0248_ $$2sideral$$a119920
000165973 037__ $$aART-2020-119920
000165973 041__ $$aeng
000165973 100__ $$0(orcid)0000-0002-3087-4556$$aDeleyto, Celestino$$uUniversidad de Zaragoza
000165973 245__ $$aWonderland: the digital and the cosmopolitan at the borderlands in Monsters
000165973 260__ $$c2020
000165973 5060_ $$aAccess copy available to the general public$$fUnrestricted
000165973 5203_ $$aMonsters: (Gareth Edwards, 2010) illustrates the collusion in contemporary visual culture between the digital and the cosmopolitan. Starting from a pivotal moment in the film in which the wonders of the borderlands are presented through an uncanny mixture of documentary-like reality and digital effects, this article explores such collusion through a combination of digital and cosmopolitan theory and close readings of particular scenes in the movie. The analysis offered here is framed by an acknowledgment of the centrality of space in the cinema. I use Lev Manovich’s concept of ‘compositing’ and its further theorization by Steven Shaviro and, especially, William Brown to discuss the specificities of digital space and its potential for a cosmopolitan understanding of the borderland. In order to describe the particular nature of the borderland constructed by Monsters, I draw on border theory (Anzaldúa, Pratt, Gómez Peña) and engage with the focus on borders and borderlands in cosmopolitan theory (Beck, Cooper and Rumford). The article concludes that Monsters, for all its cosmopolitan ambivalences, offers a complex understanding of the borderland and its potential to explicate global societies by highlighting cinematic space and turning the human figures into functions of space, thus evoking Brown’s notion of ‘enworldment’.
000165973 536__ $$9info:eu-repo/grantAgreement/ES/DGA/H12$$9info:eu-repo/grantAgreement/ES/MINECO/FFI2013-43968-P
000165973 540__ $$9info:eu-repo/semantics/openAccess$$aby-nc-nd$$uhttps://creativecommons.org/licenses/by-nc-nd/4.0/deed.es
000165973 592__ $$a0.109$$b2020
000165973 593__ $$aVisual Arts and Performing Arts$$c2020$$dQ3
000165973 593__ $$aCommunication$$c2020$$dQ3
000165973 655_4 $$ainfo:eu-repo/semantics/article$$vinfo:eu-repo/semantics/acceptedVersion
000165973 7102_ $$13004$$2345$$aUniversidad de Zaragoza$$bDpto. Filolog.Inglesa y Alema.$$cÁrea Filología Inglesa
000165973 773__ $$g18, 3 (2020), 325-344$$pNEW REVIEW OF FILM AND TELEVISION STUDIES$$tNEW REVIEW OF FILM AND TELEVISION STUDIES$$x1740-0309
000165973 8564_ $$s151996$$uhttps://zaguan.unizar.es/record/165973/files/texto_completo.pdf$$yPostprint
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000165973 951__ $$a2026-01-16-14:53:59
000165973 980__ $$aARTICLE