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The article proposes to reflect, based on the documentary Purple sea (2020), directed by Amel Alzakout and Khaled Abdulwahed, about the visual records made by Alzakout when the boat in which she was going, from Syria to Greece, sinks. The director, even adrift in the open sea and together with other refugees/migrants, takes up her camera and films, through shaky and bewildered frames, the moments of despair and uncertainty of migrant lives adrift. In addition to a proposal based on the concept of haptic visuality to analyze the images that the documentary presents us, the article will also seek to discuss the conceptions about the idea of hospitality, in the light of refugees and migrants, from the philosophical developments of Jacques Derrida, Georges Didi-Huberman, Marielle Macé and Gilles Clement.
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The article proposes to reflect, based on the documentary Purple sea (2020), directed by Amel Alzakout and Khaled Abdulwahed, about the visual records made by Alzakout when the boat in which she was going, from Syria to Greece, sinks. The director, even adrift in the open sea and together with other refugees/migrants, takes up her camera and films, through shaky and bewildered frames, the moments of despair and uncertainty of migrant lives adrift. In addition to a proposal based on the concept of haptic visuality to analyze the images that the documentary presents us, the article will also seek to discuss the conceptions about the idea of hospitality, in the light of refugees and migrants, from the philosophical developments of Jacques Derrida, Georges Didi-Huberman, Marielle Macé and Gilles Clement.
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Clica para continuares a ler...