• De la France périphérique à la France des marges : comment rendre leur juste place aux territoires urbains marginalisés ? – Mathilde Girault, Carnet des études urbaines
    https://urbs.hypotheses.org/411

    Ce billet s’appuie en particulier sur la parution de l’ouvrage : Depraz S., 2017, La France des #marges, #géographie des #territoires « autres », Paris, Armand Colin, 288 p.

    Le Ministre de l’Intérieur Gérard Collomb, interrogé sur les ondes de France Inter le 28 mars 2018 au sujet de la politique de la ville en France, a déclaré que « le véritable enjeu pour notre pays, ce sont ces quartiers. On a beaucoup focalisé ces derniers mois sur le rural et l’urbain. Non : le vrai problème, c’est les quartiers, où finalement un certain nombre de jeunes désespèrent ». Cette réflexion venait répondre à la démission très médiatisée du maire de Sevran (Seine-Saint-Denis) qui entendait ainsi protester face aux difficultés de sa commune de banlieue parisienne et à la faible efficacité de l’action publique en faveur des quartiers prioritaires. Mais la phrase mentionne aussi, plus fondamentalement, une remise en question de la lecture binaire du territoire national opposant les métropoles, bien intégrées à la mondialisation, et la « France périphérique ». Cette théorie, développée par l’essayiste populaire Christophe Guilluy (2010 ; 2014), a été largement reprise derrière lui par les acteurs politiques les plus variés – la France périphérique désignant tous ces territoires à distance des métropoles, composés des petites villes de province et des espaces ruraux délaissés à la fois par la croissance économique et par l’action publique.

    Il est en effet temps de dénoncer avec force ce schéma de pensée dichotomique, tant il fausse la lecture des enjeux territoriaux en France et produit une sélection idéologique néfaste entre espaces en difficulté. La France périphérique, c’est une triple erreur intellectuelle.

    • Il est intéressant de constater que dans cette france dite périphérique,
      ils semble courant de pouvoir obtenir un rendez vous chez le médecin, le samedi matin.

      Je ferai l’essai samedi prochain, on doit pouvoir croiser beaucoup de journalistes dans leur salle d’attente.


  • Des singes en hiver, partie 2
    http://www.radiopanik.org/emissions/emissions-speciales/des-singes-en-hiver

    Vers le XIXème siècle le colonialisme s’approprie massivement les terres du monde entier. Une étrange image accompagne cette démarche : l’idée que ces terres sont un #désert, et que seules les techniques et l’économie occidentale peuvent faire fleurir le désert. En Argentine le massacre des indiens et le vol de leur terres s’appelle officiellement la conquête du désert. Mais on retrouve cette image aux Etats-Unis, en Algérie, en Palestine…

    Ce n’est pas un manque d’information, les colons savent très bien qu’il y a des gens, des animaux, des plantes, des minéraux précieux, de l’eau… dans ces déserts. Mais « désert » est une manière d’envisager le rapport à la terre.

    Parallèlement, lors de ces conquêtes, et c’est aussi une nouveauté de l’humanisme du XIXème siècle (les Espagnols ou les Portugais ne s’étaient pas (...)

    #racisme #décolonisation #racisme,décolonisation,désert
    http://www.radiopanik.org/media/sounds/emissions-speciales/des-singes-en-hiver_05714__1.mp3



  • #Lecteurs, vous suivez #Mondes_Sociaux. Vous estimez comme nous que les recherches en #Sciences_humaines_et_sociales doivent être mieux partagées dans le monde académique et surtout au-delà ? Dans ce cas, pourquoi ne deviendriez-vous pas #contributeurs de Mondes Sociaux, #magazine numérique multidisciplinaire et multithématique ?

    https://sms.hypotheses.org/15123

    #SHS, #histoire, #sociologie, #économie, #sciences_politiques, #information, #communication, #gestion, #géographie, #écrire, #contribuer, #diffuser, #savoir, #partager, #film, #documentaire, #entreprise, #recherche, #diffusion, #etc.


  • Procès de Georges Tron : l’avocat de l’accusé, Me Dupond-Moretti, s’en prend aux féministes et aux plaignantes
    https://www.francetvinfo.fr/societe/justice/proces-de-georges-tron/proces-de-georges-tron-l-avocat-de-l-accuse-me-dupond-moretti-s-en-pren

    Les avocats de Georges Tron ont plaidé l’acquittement, mercredi 14 novembre, au procès de l’ex-secrétaire d’État et maire de Draveil, jugé pour viol devant les assises de Seine-Saint-Denis. Deux anciennes employées municipales, Virginie Ettel et Eva Loubrieu, accusent Georges Tron et Brigitte Gruel de leur avoir imposé des attouchements et pénétrations digitales. Dans sa plaidoirie, Me Éric Dupond-Moretti s’en est pris à la presse, aux féministes, et aux plaignantes , rapporte la journaliste de franceinfo présente à l’audience.

    Les pourris sont de sortie. Et ça paie.

    Procès pour viols : Georges Tron acquitté
    https://www.bfmtv.com/police-justice/proces-pour-viols-georges-tron-acquitte-1566871.html

    L’avocat général avait requis six ans de prison ferme contre l’ex-secrétaire d’État et maire en exercice de Draveil, Georges Tron, pour les viols de deux de ses anciennes employées.

    Plus de sept ans après le début de l’affaire ayant entraîné sa démission du gouvernement, l’ex-secrétaire d’État et actuel maire de Draveil Georges Tron a été acquitté ce jeudi par la cour d’assises de Bobigny.


  • La France périurbaine a-t-elle été abandonnée ? | Alternatives Economiques
    https://www.alternatives-economiques.fr/france-periurbaine-a-t-ete-abandonnee/00003009

    Surtout, les trois quarts des catégories populaires ne vivent pas dans la France périphérique, comme l’affirme Christophe Guilly, mais bien dans les villes. C’est ce qui ressort des calculs de Violaine Girard, maître de conférence à l’université de Rouen, à partir de données de l’Insee : 54 % des ouvriers et 62 % des employés vivent dans des pôles urbains, contre respectivement 28 % et 25 % dans les couronnes périurbaines (c’est-à-dire l’ensemble des communes de l’aire urbaine à l’exclusion de son pôle urbain).

    Après la montée du thème de l’"exclusion" durant les années 80 socialistes, il faut maintenant se coltiner la #société_d'abandon et ses variantes innombrables.
    #géographie_sociale #pauvreté #villes


  • Bure : le zèle nucléaire de la justice - Libération
    https://www.liberation.fr/france/2018/11/14/bure-le-zele-nucleaire-de-la-justice_1692100

    Ils ne sont que quelques dizaines, pourtant la justice emploie les très grands moyens. « Libération » a pu consulter le dossier d’instruction contre les militants antidéchets nucléaires : une procédure titanesque employant les ressources les plus pointues… de la lutte antiterroriste. (...)
    L’objectif clairement affiché est de mettre en évidence la « radicalisation » d’une partie des opposants ayant des « desseins criminels » et auteurs, selon les gendarmes, d’« infractions graves n’ayant pour l’instant entraîné que des dégâts matériels ». Dans cette instruction, qui a déjà dépassé les 10 000 pages et que Libération a consultée, les investigations les plus intrusives des enquêteurs s’enchaînent frénétiquement. Une « cellule Bure » à la gendarmerie est montée en coordination avec le parquet de Bar-le-Duc. Une dizaine de militaires travaillent sur le mouvement. La plupart à plein temps. Surveillance physique, #géolocalisation, #balisage de véhicule, placement sur #écoute, tentative de sonorisation d’une maison, expertise génétique, perquisitions, exploitation de matériel informatique… Ces « techniques spéciales d’enquête » ont été étendues ou légalisées par la loi du 3 juin 2016 sur la criminalité organisée et le terrorisme. A l’époque des débats au Parlement, les défenseurs des libertés publiques alertaient justement contre le risque de voir les méthodes de l’#antiterrorisme et de répression du grand banditisme appliquées au militantisme politique.

    #nucléaire #luttes_sociales #Imsi-catcher

    • Les grandes oreilles des gendarmes vont aussi s’intéresser à plus d’une dizaine de militants, dont les téléphones personnels sont placés sur écoute à partir de septembre 2017. Pour certains, les interceptions cessent après quelques semaines. D’autres, en revanche, seront écoutés pendant près d’un an. Qui parle à qui ? Qui utilise un pseudonyme ? Et lequel ? Les enquêteurs peinent à débusquer les « malfaiteurs » qu’ils traquent. Ainsi, 2000 communications décortiquées n’aboutissent qu’à quatre maigres retranscriptions… Sans parler du numéro d’une personne n’ayant rien à voir avec Bure, écoutée durant un mois pour rien.

      Mais l’exploitation des téléphones personnels ne se cantonne pas aux écoutes. Une dizaine de personnes ont été géolocalisées pendant plusieurs semaines « avec une fréquence de rafraîchissement de dix minutes ». Résultat de ces rutilantes investigations ? Aucun « élément intéressant l’enquête ou susceptible d’aider à la manifestation de la vérité ». Autre tentative, celle de poser des balises GPS sous les véhicules de deux personnes intéressant manifestement beaucoup les enquêteurs. Mais là encore, les découvertes s’avèrent infructueuses.

    • Les gauchistes, c’est tellement sournois, ça résiste à tous les moyens d’enquête. Pas comme ces terroristes islamistes qui laissent leurs cartes d’identité sur les lieux de la terreur. C’est pour ça qu’il faut utiliser les lois antiterroristes contre les gauchistes, écologistes, syndicalistes, avec, par exemple, suppression de l’intervention du juge pour les mesures de privation de liberté. L’intuition des enquêteurs, c’est plus sûr que les procédures contradictoires. La preuve, quand on suit l’intuition des enquêteurs, qu’on attente aux libertés et à la vie privée, on n’obtient rien : c’est bien que les gauchistes sont très fourbes et très dangereux.

      https://seenthis.net/messages/735691


  • How to Build Your Personal Brand Like General George S. Patton
    https://hackernoon.com/how-to-build-your-personal-brand-like-general-george-s-patton-1556235622

    If you want to be more memorable BUILD yourself into a symbol.In business they call it a brand. BORING!In politics they may label you a caricature. INSULTING!Whereas symbols are the stuff of superheroes…“As a man, I’m flesh and blood, I can be ignored, I can be destroyed; but as a symbol… I can be incorruptible, I can be everlasting.” — BatmanAnd few men have become as much of a symbol as General George S. Patton Jr.“Though I may walk in the shadow of death, I will fear no evil, for I am the meanest motherf*cker in the valley.” — PattonBecome a symbol by marching to the beat of Patton’s steps…1) What do you want? / Who do you want to be?Since Patton was a boy he loved reading about the great heroes and battles of #history and like most boys he saw himself between the lines.“By perseverance, study, and (...)

    #become-a-symbol #george-s-patton-jr #self-improvement #psychology



  • La CNIL s’attaque encore à la publicité mobile, cette fois avec Vectaury
    https://www.nextinpact.com/news/107271-la-cnil-sattaque-encore-a-publicite-mobile-cette-fois-avec-vectau

    La Commission nationale Informatique et libertés (CNIL) enchaine les décisions publiques contre des sociétés espionnant les déplacements des smartphones. Cette fois, elle épingle Vectaury, dont la référence apparait dans les applications de Closer, Météo France ou encore Skyrock. Vectaury est sur le grill. La CNIL lui offre une large publicité, via une mise en demeure d’obtenir le consentement des internautes à la collecte et au traitement de leurs données. Intégrée à des applications mobiles (via un (...)

    #smartphone #géolocalisation #Vectaury #CNIL


  • La CNIL avertit une nouvelle entreprise qui vous géolocalise sans consentement pour cibler de la publicité
    https://www.numerama.com/politique/438018-la-cnil-avertit-une-nouvelle-entreprise-qui-vous-geolocalise-sans-c

    La CNIL annonce la mise en demeure de Vectaury, une société spécialisée dans le ciblage publicitaire via les applications mobiles. Elle lui reproche de collecter des données sans recueillir correctement le consentement des utilisateurs. Teemo, Fidzup, Singlespot… : les mises en demeure contre des sociétés opérant du ciblage publicitaire non consenti s’enchaînent. La dernière action en date enclenchée par la Commission nationale de l’informatique et des libertés (CNIL) est survenue le 9 novembre. Elle (...)

    #données #publicité #BigData #géolocalisation #CNIL

    ##publicité
    //c2.lestechnophiles.com/www.numerama.com/content/uploads/2018/01/isabelle-falque-pierrotin-cnil.jpg


  • « Le 11 novembre, la Grande Guerre, la victoire de la France et la défaite des Français » Bruno Adrie - 6 Novembre 2018 - Librairie Tropiques
    http://www.librairie-tropiques.fr/2018/11/la-defaite-des-francais.html

    On peut comprendre que des esprits patriotes se sentent aujourd’hui blessés par la décision prise par un certain président français de ne pas offusquer l’Allemagne lors des célébrations du 11 novembre. On comprend aisément que cette décision soit une preuve de plus de la soumission des élites françaises aux élites allemandes.

    Mais, il me semble que cantonner le problème à ce niveau n’a pas se sens et ne rend pas compte de ce que fut la « Grande Guerre ».

    Car, indépendamment des marques de soumission de l’élite française et de ses commis-voyageurs politiques aujourd’hui, la victoire française de 1918 n’a jamais été une victoire du peuple français mais sa défaite. Les dynasties bourgeoises qui en 1914 avaient le pouvoir notamment via leur laquais Poincaré ont voulu la guerre et tout fait pour l’obtenir. Cette guerre n’a été que le conflit entre deux bourgeoisies industrielles impérialistes se combattant pour le partage du monde. Le patriotisme n’a rien eu à voir là-dedans. Il n’a été, comme souvent dans la bouche des politiciens de droite que le prétexte à faire passer un bain de sang pour un acte de justice.

    Et on les a vus, les profiteurs de guerre soutenus par l’État, devenir les profiteurs de paix en se faisant attribuer à bas prix les biens allemands mis sous séquestre en Alsace et en Lorraine. On les a vus refuser de payer l’impôt (comme toujours) obligeant l’État a exiger d’improbables réparations jamais acceptées outre Rhin ni outre Atlantique compte tenu des investissement US en Allemagne qui ne devaient pas rapporter à la France. Non, décidément, que la France ait choisi, aujourd’hui comme en 40 (et même avant), de se soumettre à l’Allemagne ne fait pas de doute, mais les trémolos droitistes et militaristes ne prennent pas et ne servent pas la vérité.

    La « Grande Guerre » ne fut « grande » que par l’injuste et trop grand sacrifice de millions d’innocents tournés « en saucisson de bataille » par des profiteurs qui n’ont pas hésité à leur voler la paix après leur avoir volé la peau et les os.

    « Nous avons donné tout sans exiger de reçu » a écrit Georges Bernanos dans Les enfants humiliés. Il est grand temps de relire toute la série des Écrits de combats de ce grand mystique attelé comme une bourrique fiévreuse et têtue au lourd chariot de la Vérité.

    https://www.youtube.com/watch?v=ZFxvRTyeZMg

    #histoire, #politique #premiere_guerre_mondiale #commemorations #guerre_aux_pauvres #France #profiteurs #défaites #Georges_Bernanos #france #guerre #armée #armée_française



  • How Vilification of George Soros Moved From the Fringes to the Mainstream - The New York Times
    https://www.nytimes.com/2018/10/31/us/politics/george-soros-bombs-trump.html

    On both sides of the Atlantic, a loose network of activists and political figures on the right have spent years seeking to cast Mr. Soros not just as a well-heeled political opponent but also as the personification of all they detest. Employing barely coded anti-Semitism, they have built a warped portrayal of him as the mastermind of a “globalist” movement, a left-wing radical who would undermine the established order and a proponent of diluting the white, Christian nature of their societies through immigration.

    In the process, they have pushed their version of Mr. Soros, 88, from the dark corners of the internet and talk radio to the very center of the political debate.

    “He’s a banker, he’s Jewish, he gives to Democrats — he’s sort of a perfect storm for vilification by the right, here and in Europe,” said Michael H. Posner, a human rights lawyer and former State Department official in the Obama administration.

    Mr. Soros has given his main group, the Open Society Foundations, $32 billion for what it calls democracy-building efforts in the United States and around the world. In addition, in the United States, Mr. Soros has personally contributed more than $75 million over the years to federal candidates and committees, according to Federal Election Commission and Internal Revenue Service records.

    That qualifies him as one of the top disclosed donors to American political campaigns in the modern campaign finance era, and it does not include the many millions more he has donated to political nonprofit groups that do not disclose their donors.

    By contrast, the network of conservative donors led by the billionaire industrialist brothers Charles G. and David H. Koch, who have been similarly attacked by some on the American left, has spent about $2 billion over the past decade on political and public policy advocacy.❞

    The closing advertisement for Mr. Trump’s 2016 campaign featured Mr. Soros — as well as Janet L. Yellen, the chairwoman of the Federal Reserve at the time, and Lloyd Blankfein, the chief executive of Goldman Sachs, both of whom are Jewish — as examples of “global special interests” who enriched themselves on the backs of working Americans.

    If anything, Mr. Soros has been elevated by Mr. Trump and his allies to even greater prominence in the narrative they have constructed for the closing weeks of the 2018 midterm elections. They have projected on to him key roles in both the threat they say is posed by the Central Americans making their way toward the United States border and what they characterized as Democratic “mobs” protesting the nomination of Brett M. Kavanaugh to the Supreme Court.

    The National Republican Congressional Committee ran an ad in October in Minnesota suggesting that Mr. Soros, who is depicted sitting behind a pile of cash, “bankrolls” everything from “prima donna athletes protesting our anthem” to “left-wing mobs paid to riot in the streets.” The ad links Mr. Soros to a local congressional candidate who worked at a think tank that has received funding from the Open Society Foundations.

    Even after the authorities arrested a fervent Trump supporter and accused him of sending the pipe bombs to Mr. Soros and other critics, Republicans did not back away. The president grinned on Friday when supporters at the White House responded to his attacks on Democrats and “globalists” by chanting, “Lock ’em up,” and yelling, “George Soros.”

    #Antisémitisme #Georges_Soros #Néo_fascisme #USA


  • « Le voyage vers l’empire a déjà commencé » (2/2)
    https://collectiflieuxcommuns.fr/?Le-voyage-vers-l-empire-a-deja

    Voir la partie précédente (.../...) C : Alors le chapitre suivant, c’est « #Empire et réalité multiculturelle ». Effectivement ; l’empire est tellement immense qu’il est forcément multiculturel et tu essaies de voir les choses communes entre l’époque de l’empire ottoman et l’époque actuelle… Q : Tout-à-fait. Le #Multiculturalisme n’est pas abordé directement par Ibn Khaldoun et G. Martinez-Gros ne fait que l’évoquer. Mais c’est un phénomène massif sur lequel nous, libertaires, nous buttons : nous ne savons (...)

    #Comptes-rendus_d'interventions

    / #Géopolitique, Empire, #Énergie, #Entretien, Multiculturalisme, #Écologisme, #Immigration, #Keynésianisme, #Mouvements_sociaux, (...)

    #Prospective


  • IDA Urges Decision-Makers in China Consider Cost-Effective Alternatives to “Artificial Moon”
    http://darksky.org/ida-urges-decision-makers-in-china-consider-cost-effective-alternatives-to-

    Because the illumination satellite would replace streetlights, reports estimate energy cost savings of approximately 1.2 billion yuan ($170 million) per year. [2]

    While IDA encourages creative solutions for lighting that reduce energy costs, we urge decision-makers in China and elsewhere to consider the impact of satellite illumination on wildlife, human health (specifically the interruption of circadian rhythms), and other unknown factors.


  • The Everyday Consumption of “#Whiteness”: The #Gaikokujin-fū (Foreign-Like) Hair Trend in Japan

    In feminist literature, the beauty and the fashion industries have at times been criticized for being one of the means through which women are objectified.1 Likewise, Critical Race Studies have often pinpointed how the existence of a global beauty industry has the effect of propagating Eurocentric beauty ideals.2 Throughout this article I aim to explore the complicated ways in which beauty and racialized categories intersect in Japan through an analysis of the female-targeted hair trend of the gaikokujin-fū (foreigner-like) hair.

    Essentialism is what prompts us to divide the world into two, “us” versus “them,” negating all that is in between the two categories or even changes within the categories themselves. Although this binary thinking has been subject to criticism by various disciplines, such as Critical Race Studies and Postcolonial Studies, it is still among the dominant ways in which human relations are performed in Japanese society. The essentialistic opposing duality between Foreignness and Japaneseness has been constructed in post-war Japan through widespread discourses known by the name nihonjinron (lit. the theories on the Japanese).3 Even though it could be understood as a powerful reply to American racism towards the Japanese, nihonjinron only confirms stereotypes by reversing their value, from negative to positive. Moreover, these theories have had the effect of emphasizing Japanese racial and cultural purity through the alienation and exoticization of the other, most often represented by the white “Westerner”4 (obeijin, seiyōjin, hakujin).

    The ambivalent exoticism that surrounds the foreigner (gaikokujin) has made it possible for racialised categories and consumerism to intersect in the archipelago. The beauty industry is particularly susceptible to the segmentation between “self” and “other,” and the global white hegemony has a certain influence over it. However, as Miller rightly observes, dominant beauty standards in Japan are equally influenced by local values of “Japaneseness.”5 Torigoe goes even farther: in her essay, she positions whiteness as a power relation and through her analysis she demonstrates how white women are constructed as Others in Japanese media representations, thus creating “a racial ladder that places Japanese people on top.”6 The link between whiteness and widespread beauty practices has been criticized also in studies of the neighbouring country of Korea, with scholars arguing that cosmetic surgeries in the country are successful only if they enhance the body’s natural “Koreanness.”7

    My aim in this paper is to tackle the capitalistic commercialization and fetishization of whiteness in contemporary Japan. As it will become clear throughout the analysis, the Japanese beauty industry is creating a particular image of whiteness that is suitable to the consumers’ needs and desires: this toned-down, less threating way of becoming “foreigner-like” is marketed as an accessory that far from overriding one’s natural features, is instrumental in accentuating and valorizing them. Investigating the peculiar position of this beauty trend, which has been affected by the influence of the two contrasting hegemonic discourses of white supremacy and the purity/superiority of the Japanese race, might be helpful in shedding some light on the increasingly complicated ways the concept of race is being constructed in a setting that has been often considered “other” to the Eurocentric gaze.

    Whiteness and the Global Beauty Industry

    Beauty is an important practice in our daily life, and as such it has been at the center of animated discussions about its social function. Seen as one of the practices through which gender is performed, it has been put into scrutiny by feminist literature. The approach used to analyze beauty has been dualistic. On the one hand, the beauty and fashion industries have been criticized for being among the reasons of women’s subordination, depriving them financially8 and imposing on them male normative standards of beauty.9 On the other, it has been cited as one of the ways in which female consumers could express their individuality in an oppressive world.10

    The increasingly globalized beauty and fashion industries have also been subjects of criticism from the viewpoint of Critical Race Studies. It is not uncommon to hear that these industries are guilty of spreading Eurocentric tastes, thus privileging pale-skinned, thin women with light hair.11 The massive sale of skin-whitening creams in Asia and Africa as well as the creation of new beauty standards that privilege thinness over traditionally preferred plump forms are often cited to defend this argument. At the same time, there have been instances in which this denouncing of Eurocentrism itself has been charged guilty of the same evil. Practices such as plastic surgery in South Korea and Japanese preference for white skin have been often criticized as being born out of the desire to be “Western”: these analyses have been contested as simplistic and ignoring the cultural significance of local standards of beauty in shaping beauty ideals.12

    Answers to these diatribes have not been yet found.13 It is nonetheless clear that beauty practices articulate a series of complex understandings about gender and race, often oscillating between particularisms and universalisms. Throughout this article I would like to contribute to this ongoing discussion analyzing how pre-existing notions of race and gender intersect and are re-shaped in a newly emerging trend aptly called gaikokujin-fū (foreigner-like) hair.

    Us/Others in Japan: The Essentialization of the Foreign
    Japan and the tan’itsu minzoku

    It is not uncommon to hear that Japan is one of the most ethnically homogenous countries in the world. In Japanese, the locution tan’itsu minzoku (single/unique ethnic group, people, nation), was often used as a slogan when comparing the archipelago with significantly multi-ethnic countries such as the USA.14 The notion of Japan as a mono-ethnic country is being starkly criticized in recent years:15 minorities such as the zainichi Koreans and Chinese who have been living in the country since the end of the second world war, the conspicuous populations of foreign immigrants from Asia and Latin America, as well as mixed-race people, who were thought of as a social problem until these last ten years,16 have been making their voices heard. In the following paragraphs, I will trace how the idea of a racially homogeneous Japan was constructed.

    The word minzoku (ethnic group, people, nation) first appeared in the Japanese language in the Taishō Period (1912-1926), as an alternative to the term jinshū (race).17 The concept of race did not exist prior to the Meiji period (1868-1912), when it was introduced by scholars as one of the ideas from the “West” that would have helped Japan become a modernized nation.18 It could be argued that while the opening up of Japan after the sakoku period was not the first time that the Japanese government had to interact with people of different racial features,19 it was the first time that the idea of racial hierarchies were introduced to the country. Japanese scholars recognized themselves to be part of the ōshoku jinshū (“yellow race”), hierarchically subordinate to the “white race.”20 With rising nationalism and the beginning of the colonization project during the Taishō period, the need arose for a concept that could further differentiate the Japanese people from the neighboring Asian countries such as the newly annexed Taiwan and Korea:21 the newly created minzoku fit this purpose well. Scholar Kawai Yuko compared the term to the German concept of Volk, which indicates a group whose identity is defined by shared language and culture. These traits are racialized, as they are defined as being “biological,” a natural component of the member of the ethnic group who acquires them at birth.22 It was the attribution of these intrinsic qualities that allowed the members of the naichi (mainland Japan) to be assigned in a superior position to the gaichi (colonies). Interestingly, the nationalistic discourse of the pre-war and of the war period had the double intent of both establishing Japanese supremacy and legitimizing its role as a “guide” for the colonies grounding it in their racial affinities: unlike the conquerors from Europe, the Japanese were of similar breed.

    These hierarchies were ultimately dissociated from the term minzoku after the end of the Second World War, when it was appropriated by Leftist discourse. Opposing it to ta-minzoku (multiethnic nation or people)23

    that at the time implied divisions and inequalities and was perceived as a characteristic of the Japanese Empire, Left-leaning intellectuals advocated a tan’itsu minzoku nation based on equality. The Leftist discourse emphasized the need of the “Japanese minzoku” to stand up to the American occupation, but the term gradually lost its critical nuance when Japan reached economic prosperity and tan’itsu minzoku came to mean racial homogeneity as a unique characteristic of Japanese society, advocated by the Right.24

    Self-Orientalism

    The term minzoku might have “lost his Volk-ish qualities,”25 but homogeneity in Japan is also perceived to be of a cultural nature. Sociologists Mouer and Sugimoto26 lament that many Japanese people believe to be the carriers of an “unique” and essentialized cultural heritage, that renders them completely alien to foreigners. According to the two scholars, the distinctive qualities that have been usually (self-)ascribed to Japanese people are the following: a weak individuality, the tendency to act in groups, and the tendency to privilege harmony in social situations.27 Essentialized “Japaneseness” is a mixture of these psychological traits with the products of Japanese history and culture. The perception that Japaneseness is ever unchanging and a cultural given of each Japanese individual was further increased by the popularity of the nihonjinron discourse editorial genre, which gained mass-media prominence in the archipelago after the 1970s along with Japan’s economic growth.28 Drawing on Said’s notion of Orientalism,29 Miller states that “in the case of Japan, we have to deal […] with the spectacle of a culture vigorously determined to orientalize itself.”30 According to Roy Miller, Japan has effectively constructed Japaneseness through a process of self-othering, which he refers to as self-Orientalism. The nihonjinron publications were very much influenced by cultural anthropologist Ruth Benedict’s highly influential “The Chrysanthemum and the Sword,” published in 1946. Benedict’s study of the “Japanese people” is based on the assumption that the USA and Japan are polar opposites where the former stands for modernity and individualism whereas the latter is characterized by tradition and groupism.31

    Japanese anthropologists and psychoanalysts, such as Nakane and Doi32 further contributed to the study of Japaneseness, never once challenging the polar opposition between the “Japanese” and the “Westernerners.”

    It would seem contradictory at first for a large number of people in Japan to have this tendency to think and consume their own culture through stereotypes. However, Iwabuchi draws attention to the fact that Japan’s self-Orientalism is not just a passive acceptance of “Western” values but is in fact used to assert the nation’s cultural superiority. It remains nonetheless profoundly complicit with Euro-American Orientalism insofar that it is an essentializing and reifying process: it erases all internal differences and external similarities.33 This essentialization that Japan is capitalizing on proves fundamental for the “West,” as it is the tool through which it maintains its cultural hegemony.

    Images of the Foreigner

    Images of the foreigner are not equal, and they form an important node in the (self-)Orientalistic relations that Japan entertains with the rest of the world. An essentialized view of both the Euro-American and Asian foreigner functions in different ways as a counterweight to the “we-Japanese” (ware ware Nihonjin) rhethoric.

    In the Japanese language, gaikokujin (foreigner) refers to every person who doesn’t have the same nationality as the country she/he lives in.34 The term gaikokujin does not have racial connotations and can be used to effectively describe anyone that is not a Japanese citizen. However, the racially-charged related term gaijin35 refers especially to the “white” foreigner.36 Written very similarly to gaikokujin, the word gaijin actually has a different origin and the double meaning of “foreigner” and “outsider.” The word carries strong implications of “othering,” and refers to the construction of the Europe and America as other to the young nation-state in the Meiji period, during which knowledge was routinely imported from the “West.”37 Thus, gaijin and the representation of foreigners-as-other came to reflect the dominant hierarchies of nineteenth-century “Western” knowledge.38

    Putting every white-skinned individual in the same category functions as a strategy to create the antithetical “West” that is so important as a marker of difference in self-Orientalism: it serves to create an “Other” that makes it possible to recognize the “Self.”39 At the same time, it perpetuates the perception of whiteness as the dominant position in America and Europe. In her analysis on the use of foreigner models in Japanese advertisements, Creighton notes that representation of gaijin positions them both as a source of innovation and style and as a potential moral threat.40

    This splitting is not uncommon when dealing with representations of the Other. What generates it is the fetishistic component that is always present in the stereotype.41 Bhabha argues that this characteristic allows the Other to be understood in a contradictory way as a source of both pleasure and anxiety for the Non-Other. Stuart Hall draws on Bhabha’s theories to state that the stereotype makes it so that this binary description can be the only way in which is possible to think of the Other–they generate essentialized identities.42 In the Japanese context, the gaijin, fulfilling his role as a racially visible minority,43 is thus inscribed in the double definition of source of disruption and person to admire (akogare no taishō).

    Whiteness in the Japanese Context

    Akogare (admiration, longing, desire) is a word that young women44 in Japan often use when talking about the “white, Western” foreigner. Kelsky explains that the word indicates the longing for something that is impossible to obtain and she maintains that “it is a rather precise gloss […] of the term “desire” in Lacanian usage. […] Desire arises from lack and finds expression in the fetish. The fetish substitutes the thing that is desired but impossible to obtain.”45 Fulfilment of this unattainable desire can be realized through activities such as participation in English conversation classes and engaging in conversation with “Western” people.46 The consumption of “Western” images and representations as well as everyday practices associated with the Euro-American foreigner could also be considered a fetish that substitutes the unattainable object of desire. In this sense, the gaikokujin-fū hairstyle trend might be for the producers one such way of catering to young Japanese women’s akogare for the “Western” world.

    Gaikokujin-fū is inextricably connected to gaijin, “white” foreigners. For instance, the Hair Encyclopedia section of the website Hotpepper Beauty reports two entries with the keyword gaikokujin-fū: gaikokujin-fū karā (foreigner-like color) and gaikokujin-fū asshu (foreigner-like ash). The “color” entry states the following:

    Gaikokujin-fū karā means, as the name suggests, a dye that colors the hair in a tint similar to that of foreigners. The word “foreigner” here mostly stands for people with white skin and blond hair that are usually called “American” and “European.”47

    Similarly, the “ash” entry explains the following:

    The coloring that aims for the kind of blond hair with little red pigments that is often found among Americans is called gaikokujin-fū asshu.

    Asshu means “grey” and its characteristic is to give a slightly dull (dark?) impression. It fits well with many hairstyles ranging from short cuts to long hair, and it can be done in a way to make you look like a “western” hāfu (mixed race individual).

    It is clear from these descriptions that the term gaikokujin-fū is racially charged. What hairdresser discourse is trying to reproduce is a kind of hair color associated with America and Europe’s Caucasian population. They are selling “whiteness.”

    Writing from the viewpoint of multicultural England, Dyer writes that the study of the representation of white people is important because “as long as white people are not racially seen and named, they/we function as a human norm.”49 White discourse is ubiquitous, and it is precisely this unmarked invisibility that makes it a position of dominance. The representation of people belonging to minority groups is inevitably marked or tied to their race or skin color, but Caucasians are often “just people.” At the base of white privilege there is this characteristic of universality that is implied in whiteness.

    The marked positioning of the white foreigner in Japanese society would seem an exception to this rule. Torigoe, while acknowledging that the Japanese media “saturated [her] with images of young white females as the standard of beauty,”50 analyzes in her article how white beauty actually embodies values such as overt sexual attractiveness that would be considered deviant or over the top by standard societal norms.51 Likewise, Russell points to the scrutiny that the bodies of the white female woman receive on Japanese mass media, dominated by a male gaze. White females become subject to the sexual curiosity of the Japanese male, and being accompanied by one of them often makes him look more sophisticated and competitive in a globalized world.52 As the most easily, less controversially portrayed Other through which Japanese self-identity is created, the white individual is often subject to stereotyping and essentialization. Russell notes this happening in both advertisement and the portrayal of white local celebrities, that assume even “whiter” characteristics in order to better market their persona in the Japanese television environment.

    However, it is my opinion that we must be careful to not be exceedingly uncritical of the marginality that Caucasians are subject to in Japanese society. I argue that whiteness is in an ambiguous position in the Japanese context: it would be wrong to say that in the archipelago white people do not benefit from the privileges that have accompanied their racialization up to the present times. The othering processes that whites are subject to is more often than not related to them being brought up and representing a different culture than to their racial difference.54 The word hakujin (lit. white person) is barely used in everyday conversation, whereas it is more common to hear the term kokujin (lit. black person): white people are not reduced to their racial characteristics in the same way as black people might be.55 Whiteness might not be the completely hegemonic in the Japanese context, but the country does not exist in a vacuum, and its standards have been influenced by the globally hegemonic white euro-centric values to some extent.

    To reiterate, white people in the Japanese archipelago experience the contradictory position of being a visible minority subject to reifying “othering” processes while at the same time reaping many of the benefits and privileges that are usually associated with the color of their skin. They are socially and politically located at the margins but are a hegemonic presence in the aesthetic consciousness as an ideal to which aspire to. In the following sections, I will expand on gaikokujin’s ambiguous location by looking at the ways in which whiteness is consumed through the gaikokujin-fū hairstyle trend.

    Producing Whiteness: Selling gaikokujin-fū Hair
    Creating the “New”

    In order to understand the meanings shaping the catchphrase gaikokujin-fū, I have used a mixture of different approaches. My research began by applying the methods of Visual Analysis56 to the latest online promotional material. I have tried to semiotically analyze the pictures on the websites in relation to the copywriting. In addition, I have complemented it with fieldwork, interviewing a total of seven hairdressers and four girls aged from 20 to 2457 in the period between April and June 2017. It was while doing fieldwork that I realized how important social networking is for the establishment of contemporary trends: this is frequently acknowledged also in the press by textually referencing hashtags.58 Instagram is a very important part of Japanese girls’ everyday life, and is used both as a tool for self-expression/self-promotion as well as a compass to navigate the ever-growing ocean of lifestyle trends. Japanese internet spaces had been previously analyzed as relatively closed spaces created and accessed by predominantly Japanese people, and this had implications on how online discourses about races were carried on.59 However, being a predominantly visual medium, Instagram also functions as a site where information can, to a large extent, overcome language barriers.

    The gaikokujin-fū hashtag counts 499,103 posts on Instagram, whereas 381,615 pictures have been tagged gaikokujin-fū karā.60 Most of them are published by professional whose aim is to publicize their work, and it is not uncommon to find pricing and information for booking in the description.

    Scrolling down the results of the Instagram search, it is easy to notice the high number of back and profile shots; what the hairdressers are trying to show through these pictures is their hairdressing skills. By cutting out the face they are putting the hair itself at the center of the viewer’s attention and eliminating any possibility of identification. The aim here is to sell “whiteness” as an object. The trendsetters are capitalizing on a term (gaikokujin-fū) that has already an appealing meaning outside the field of hair coloring, and that is usually associated with the wider desire or longing (akogare) for “Western” people, culture and lifestyle.

    To the non-initiated, the term gaikokujin-fū might indicate anything that is not “Japanese like” such as curly hair, or blonde hair. However, it became clear when speaking to my hairdresser informants that they only used the term referring to the ash-like coloring. Professionals in the field are reclaiming it to define a new, emerging niche of products that only started appearing a couple of years ago.61 In doing so, Japanese hairdressers are creating a new kind of “whiteness” that goes beyond the “Western” cultural conception of white as blonde and blue-eyed, in order to make it more acceptable to Japanese societal standards. In fact, fair hair is considered extremely unnatural.62 The advantage that ash brown hair has over blonde is the relatively darker shade that allows consumers to stand out without being completely out of place.63

    However, gaikokujin-fū hair comes at a cost. All of my informants told me during the interviews that the colors usually associated with this trend involve dyes have a blue or green base, and are very difficult to recreate on most people of the East Asia whose naturally black hair has a red base. The difficulty they experienced in reproducing the Ash (asshu) and Matt colors on Japanese hair constituted a fundamental charm point for hair technicians, and precisely because of this being able to produce a neat ash coloring might be considered synonymous with keeping on pace with the last technology in hair dying. The Wella “Illumina Color”64 series came out in September 2015, while Throw,65 a Japanese-produced series of hair dyes that eliminate the reddish undertones of Japanese black hair, went on sale very recently in June 2016.66 Another Japanese maker, Milbon, released its “Addichty Color”67 series as recently as February 2017. The globally dominant but locally peripheral whiteness has been “appropriated” and domesticated by Japanese hairdressers as a propeller of the latest trends, as a vital tool in creating the “new.”

    To summarize, the technological developments in hair dyes certainly gave a big push to the popularizing of the gaikokujin-fū hairstyle trend. Moreover, in a very chicken-and-egg-like fashion, the technological advancing itself was at the same time motivated by the admiration and desire towards Euro-American countries. However, this desire for “Westerness” does not entail adopting whiteness in its essentialized “purest” form,68 as that would have negative implications in the context of Japanese society. Rather, Japanese trendsetters have operated a selection and chosen the variant of whiteness that would be different enough to allow the creation of the “latest” while minimizing its more threatening aspects.
    Branding the “New”

    In the previous section I mentioned the fact that most of pictures posted on the social network Instagram serve to amplify and diffuse existing values for consumption, and constantly refer to a set of meanings that are generated elsewhere reifying them. Throughout this section I will examine the production of these values through the branding of the aforementioned hair dye brands: Wella’s “Illumina Color,” THROW, and Milbon’s “Addichty Color.”

    Wella’s “Illumina Color” offers an interesting case study as it is produced by an American multinational brand. Comparing the Japanese website with the international one, it is clear that we have before our eyes a prime example of “glocalization.”69 While on the international webpage70 the eye-catch is a picture of a white, blue-eyed blonde woman that sports an intricate braided hairstyle with some purplish accents in the braid, the Japanese71 version features a hāfu-like72 young woman with long, flowing straight dark brown hair. The description of the product also contains the suggestive sentence “even the hard and visible hair typical of the Japanese [can become] of a pale, soft color.” The keywords here are the terms hard (katai) and soft (yawaraka). Hardness is defined as being a characteristic typical of the Japanese hair texture (nihonjin tokuyū) and it is opposed to the desired effect, softness. The sentence implies by contrasting the two terms that softness is not a characteristic of Japanese hair, and the assumption could be taken further to understand that it is a quality typical of the “foreign.” Perhaps unsurprisingly, the international webpage contains no such reference and instead vaguely praises the hair dye’s ability to provide a light color. The visuals of the latter are consistent with Dyer’s definition of whiteness.

    Unlike Wella, Milbon and beauty experience are Japanese companies, and their products ORDEVE Addichty and THROW are only geared to the Japanese marketplace. Milbon’s ORDEVE Addichty dye series is the most recent of the two. The product’s promotional webpage is almost entirely composed of pictures: the top half features 14 moving pictures, two for each of the seven colours available. The pictures slide in a way that shows the customer all the four sides of the model’s bust up, and each one of the girls is holding a sign with the name of the product. To the center left, we see a GIF image with the name of the brand in the roman and Japanese alphabet, accompanied by the catchphrase hajimete mitsukaru, atarashii watashirashisa (“I found it for the first time, a new way of being myself”), that slides into another text-filled picture that explains the concepts behind the branding.

    Occidental-like (ōbeijin) voluminous hair with a shine (tsuya) never seen before. This incredible feeling of translucence (tōmeikan) that even shows on your Instagram [pictures], will receive a lot of likes from everybody. Let’s find the charm of a freer myself with Addichty color!

    The red-diminishing dyes are here associated with both physical and ideological characteristics identified as “Western,” like the “feeling of translucence” (tōmeikan)73 and “freedom” (jiyū). The word tōmeikan is a constant of technical descriptions of gaikokujin-fū and it is generally very difficult for the hairdressers to explain what does it mean. My hairdresser informant N. quickly explained to me that having translucent hair means to have a hair color that has a low red component. Informants H. and S., also hair professionals, further explained that translucency is a characteristic typical of hair that seems to be semi-transparent when hit by light. While in the English-speaking world it would certainly be unusual to positively describe somebody’s hair as translucent, tōmeikan is a positive adjective often used as a compliment in other different contexts and it indicates clarity and brightness. In fact, the Japanese Daijisen dictionary lists two definitions for translucent, the second of which reads “clear, without impurities.”74 It is perhaps in relation to this meaning that the melanin-filled black core of the Japanese hair is considered “heavy” (omoi) and strong. Reddish and lighter brown colors are also defined in the same way. What is more, even hair colors at the other end of the spectrum can be “muddy”(nigori no aru): blonde hair is also described as such.75 It is clear that while tōmeikan is a quality of “occidental hair,” it is not a characteristic of all the shades that are usually associated with whiteness.

    In the last sentence, “freedom” is linked to charm (miryoku) and the individual. These three concepts are also very often associated with the foreigner. The freedom of the gaijin is a freedom from social constraints and from the sameness that pervades dominant representations of Japaneseness.76 Individualism is further emphasized by the pronoun “myself,” which in the original Japanese is a possessive pronoun to the word “charm” (miryoku). As a word, miryoku has an openly sexual connotation, and because of this it might be linked to the concept of “foreignness.” As Torigoe found out in her analysis of Japanese advertisements, white women are often represented as a sexualized counterpart to the more innocent Japanese woman.77 Gaikokujin-fū hair offers customers the possibility to become closer to obtaining this sexiness, that distances the self from the monotone standards of society.

    Of the three, THROW is possibly the most interesting to analyze, mostly because of the huge quantity of content they released in order to strengthen the brand image. In addition to the incredibly detailed homepage, they are constantly releasing new media contents related to gaikokujin-fū coloring on their “THROW Journal.”78

    The “story” page of the website serves as an explanation of the brand identity. It is a vertically designed page heavy on images, possibly designed to be optimally visualized in mobile devices such as smartphones and tablets. The first image that the viewer encounters is that of a girl whose brown hair is flowing in the wind, which results in some strands covering the features of her pale-white face. This makes it hard to understand her nationality and makes it so that all the attention is focused on the light, airy qualities of the hair. As I said before, “lightness” (karusa) is associated to translucency and is one of the characteristics at the center of the marketing of gaikokujin-fū. This picture very clearly renders those sensations in a way that is very pleasant to the eye and indeed invites consumption.

    Under the picture we find a very short narration that complements it. In bigger characters, the words dare de mo nai, watashi ni naru, that roughly translates as “I’ll become a myself, that is nobody else.” Here again we find an emphasis on individuality and difference. Scrolling down, we find the following paragraph written in a smaller font:

    I leave my body to the blowing wind.

    My hair is enveloped in light, and is filled by the pleasant air.

    What I needed was this [facial] expression.

    I got rid of what I did not need, and refreshingly freed my mind.

    Gracefully, freely.

    I should just enjoy myself more.79

    Unlike the tagline in the Addichty webpage, THROW’s brand identity is here described in ideological terms only. Once again, “freedom” is the central theme, and is associated with a sensation of freshness (kaze, “the wind”; also, the onomatopoeia sutto, here rendered as “refreshingly”). The image of release is further emphasized by the fact that “I” of this text is in close contact with nature: her skin feels the wind, she is shrouded in light and breathes pure air. But what is the subject being released from? The fourth and the last line would suggest that she is being trapped by social constraints, something akin to the Freudian super-ego, that somehow renders her unable to enjoy herself for what she really is. My literal translation of the sixth line makes it hard to understand the hedonistic implications of its meaning: what the original Japanese implies is not simply that she should “have fun,” but she should be finding pleasure in what she is and not what she is expected to be. It is perhaps strange to the eyes of the Euro-American observer accustomed to the discourse of white supremacy that the consumption of whiteness comes with an invitation to spontaneity. The whiteness being sold here is certainly perceived in a radically different way from the Eurocentric “West,” where it is associated with self-constraint.80 It is being marketed to the Japanese public in a way that reminds the portrayal of minorities in the white-dominated world,81 and that makes it particularly appealing to the archipelago’s consumers.

    Listening to the producers’ interviews, it becomes clear for them that the red pigments of the hair, as a symbol of this self-Orientalistically represented “Japaneseness” are represented as a further constraint. Producer Kimura Naoto speaks of a “liberation from redness for the women who hate it”;82 fellow member of the production team Horiuchi brings up the ever-present desire in Japanese women to “become like foreigners,”83 but neither of the two explains the connection between the deletion of red pigments from the hair and the possibility of becoming foreigner-like. It is perhaps this lack of an explicit connection in an explanation from an expert that makes it perceived as an “obvious truth.” In fact, nobody seems to refer to the fact that red undertones are common overseas as well, not to mention the existence of redheads in predominantly Caucasian regions. By hiding these facts, the red pigments are constructed as something that is peculiarly Japanese and juxtaposed to the exclusively foreign blue pigments, further contributing to the essentializing of the gaikokujin that propels self-Orientalism.

    Consuming Whiteness: Gaikokujin-fū and Everyday Life

    To understand the ways that gaikokujin-fū was being interpreted and consumed I conducted fieldwork for two months (April-June 2017) in Tokyo. Engaging in participant observation proved to be relatively easy, since superficial conversation about beauty trends is one of the most common ways that young women around my age use to socialize. Most of my peers were very quick to react every time I lightly introduced the subject. However, due to the perceived “lightness” of the topic, not many people showed to be willing to talk prolongedly about it. This prompted me to supplement the fieldwork with semi-structured interviews I conducted with four people aged 20-22.

    The general reaction to the gaikokujin-fū buzzword was one of recognition–the existence of the trend was acknowledged both by people who were actually familiar with it as well as by others who were not really interested but had seen the phrase and recognized a more general idea behind it. As the reader might expect after having gone through the previous chapter, consumers of gaikokujin-fū hair all brought up the difficulties they had in obtaining the desired results. When I first contacted K., a 23-year-old university student in Tokyo, she told me to wait till the following week for the interview since she had an appointment to dye her hair of an ash-like color. Seven days later, I was surprised to see that her hair had not changed much. Turns out that her virgin hair was a very difficult base to work with: having never bleached it, it proved to be very resistant to blue-green dyes. Dying the hair of an ash-like color would have been impossible as the naturally red pigments of the hair would have completely nullified the effect.

    Whiteness as Empowerment, Whiteness as Difference

    K. was nonetheless very accommodating and answered my questions very enthusiastically. To her, the word gaikokujin had indeed a very positive meaning, and she specifically associated it to difference. My informant used a very harsh word when talking about her fellow Japanese: to her, Japanese style equals mass-production. Her image of Japan was perfectly congruent with those described by Mouer and Sugimoto in their critique of Nihonjinron. “Ordinary” Japanese girls were, in her opinion, the cutesy and quiet girls with straight black hair and bangs covering their foreheads. Why did she feel attracted to gaikokujin-fū in the first place? K. felt that the “traditional” Japanese image was constraining, and she had both very physical and empirical reasons (she does not like face with bangs) as well as a specific ideological background. It is worth nothing here that K. has had since her childhood a very strong akogare towards “Western countries”: she has studied English since she was a small child and is now studying Italian, which led her to spend a year abroad in the University of Venice. Moreover, she attended a very liberal protestant high school in Tokyo, where students were allowed to dye their hair and had no obligation to wear the school uniform. She herself stated that the liberal environment she was brought up in had a huge influence on her view of the world and thus she did not feel the need to “conform.” K. speaks from a privileged position that allowed her to glimpse a “different” world, in which she is promised freedom. In a similar fashion to the representations I analysed in the previous chapter, “Western” foreign becomes a symbol of liberation from the societal constraints of a traditionalistic society.

    The liberating qualities of the akogare towards the essentialized “Western” foreign have been brought up in previous research as a space for young women to astray themselves from the hierarchies of everyday life. The link between freedom and diversity was indeed particularly strong in K., who feels somehow “oppressed” by certain aspects of society. However, this is far from being a universal mode of consumption: in fact, the other three girls never even mentioned anything ideological. To S., a 22-year-old girl I met while studying in Tokyo two years ago, dying her hair of an ash-like hue was an act genuinely finalized to the enhancement of her beauty: she thought the color made her face look brighter. While she too stated during the interview that foreigners are viewed as cool and fashionable, she did not allude to a desire to “become” one nor she mentioned any ideological values associated with them that she emphasized with. In her everyday practice, whiteness is consumed as a tool regardless of its hegemonic signified. Informants A. and H. talked about the trend in a similar way. H. initially dyed her hair because she liked how cute ash hair looked on her favourite model, and had little more to say other than that. Her friend A., who recently graduated from a fashion school, confessed that in her environment standing out was more the rule than a subversive act. Her ash phase was brief and followed by even more explosive hues such as blue and pink. S., A., and H., were very much less conscious of their ways of consumption, but, as French theorist Michel de Certeau argues,84 it is precisely the aimlessness of their wandering that make their practices subvert the hegemony established by the global white supremacy. Having gaikokujin-fū hair is one of the strategies that Japanese women have at their disposition to attain beauty, and while it is trendy, it is far from being superior to different styles. Whiteness becomes an accessory that enhances the natural beauty of the self, and it is not employed to override one’s original racial features but rather to enrich them through the display of individuality. Under this light, it is possible to see the consumption of foreign-like hair as an unconscious tentative of overcoming the racialized barriers that might generate uncanny feelings in the eyes of the “white” spectator.

    Subdued Subversion and the Ambiguities of Consumption

    There are however at least two factors that complicate the consumption of gaikokujin-fū hair, making it a multifaceted and complex process. Firstly, during my interview with K. we discussed the differences between this and other fashion trends that tend to refuse the stereotypical sameness of the constructed Japanese image. K. suggested the existence of an even more individualistic trend–Harajuku–style fashion. The Harajuku district of Tokyo is famous world-wide for hosting a wide range of colourful subcultures,85 which my interviewee described with terms such as dokusouteki (creative) and yancha (mischievous). Harajuku fashion is individuality taken to such a level in which it becomes even more openly contestant of society. S. described these subcultures as referencing the image of “an invented fantasy world, completely out of touch with reality.” The gaikokujin-fū hair colour is indeed a way to break out of the “factory mould,” but it is a relatively tame way of doing it as it is the consumption of a domesticized otherness. As I also pointed out during the analysis of the production processes, the aesthetics of the trend are largely shaped in relation to societal norms and purposely do not excessively break out of them. Especially in its darker tones, foreign-like ash hair is visually closer (albeit chemically harder to obtain) than platinum blonde, and it is precisely in these shades that the hue is being consumed by girls like K. and S.

    Furthermore, one could say that Gaikokujin-fū hues can at times be experimentations instrumental to the formation of one’s identity. H. and S. both explained that they tried out ash dyes as a phase, only then to move on to something that they thought better reflected their own selves. In both cases, that meant going back to their natural black color and to darker tones. H., in particular, after spending her three years of freedom in university experimenting with various hues, finally concluded in her fourth and final year that natural black hair was “what suits Japanese people best.”. After trying out the “Other” and recognizing it as such, her identification acted as what Stuart Hall might have called a suture between her as an acting subject and the discursive practices of “Japaneseness.”86 As “foreignness,” and whiteness as one of its variants, cannot be easily conceived outside the dominant self-Orientalistic discourses, even gaikokujin-fū is inevitably bound to the essentialized “Japaneseness” of the Nihonjinron. This is only worsened by the fact that foreign-like hair colors are a product in the beauty market: they need to be marketed to the consumers, and this necessitates simplification. Essentialization and the reinforcement of self-Orientalism are the high prices that one must pay for the consumption of the other, and constitute a big limitation of its subversive power.

    Conclusion

    I have attempted to analyse the ways in which whiteness is produced and consumed in Japan, a country with significant economic and cultural power that does not have a significant Caucasian population. I have chosen as the topic a feature of the human body that is usually considered peripherical to the construction of racialized categories, and I have attempted to demonstrate how it becomes central in the production of an occidentalistic image of “whiteness” in the Japanese Archipelago.

    What this trend helps us to understand is the complexities and multiplicities of whiteness. By shedding some light on the way that hairdressers in Japan construct and sell the gaikokujin-fū trend we become aware of the fact that an aspect such as hair color that we do not usually pay much attention to in relation to this racialized category can be central when the same is consumed in a different setting. It is significant that what is being marketed here it is a slightly different paradigm from the Eurocentric or conventional idea of “white” people, that sees at its center blonde-haired, fair-skinned people with blue or green eyes: whiteness is mitigated and familiarized in order to make it more desirable to wider audiences. Its localized production and its consumption as a disposable accessory might be taken as challenging to the global dominance of Caucasian aesthetic.

    Acting in the (locally) ambiguous field of racial representations,87 hairdressers in Japan are creating their own whiteness, one that is starkly defined by what is socially acceptable and what is rejected.88 It thus becomes apparent the fact that racialized categories are nothing but discourses, constantly morphing in relation to time and space. The existence of a different whiteness created by and for the use of people who are not considered as belonging to this racialized category creates conflict with the discourse of a global, hegemonic whiteness by demonstrating its artificiality and construction.

    However, the use of the word gaikokujin inevitably generates ambivalent meanings. The trend becomes linked to the discourse of “foreignness” and the desires associated with it. Eventually, it ends up reproducing the essentialist and reifying stereotypes that are creating through the occidentalistic (and self-Orientalistic) practices of nihonjinron. The trend potentially reinforces the “us/them” barriers that are at the basis of essentialistic thought by juxtaposing the desired “foreign hair” as a polar opposite of the more conservative and traditional “Japanese hair.”

    To reiterate, gaikokujin-fū might be subversive on the global scale, but it is nonetheless an expression of the oppressive mainstream on the local level, as it restates notions of difference and exclusivity that form the basis for social exclusion of phenotypically alien foreigners. Unfortunately, the practices of marketing necessitate simplifications, and makes it is hard to achieve what I believe would be the most subversive action: the elimination of these reifying barriers. It is imperative that we start to think about ways to talk about race and culture in a non-essentializing manner while maintaining an anti-white-centric stance.

    Although the problem of essentialization cannot be resolved by looking at representation only, by looking at how the product is effectively consumed in everyday life we might find that these semi-conscious practices already offer some hints on how to overcome the barriers that reification builds around us. It is indeed true that consumers answer to the “call” of the marketers, and that they identify themselves to some extent with the images of racialized whiteness created by the beauty industry. However, what the interviews revealed is that often times the link between image and product is broken in the immediacy of consumption. By using whiteness as an accessory, some of the consumers open up a space in which they contest the seriousness and rigidity of racialized categories–a space that allows hybridity to exist.


    http://zapruderworld.org/journal/archive/volume-4/the-everyday-consumption-of-whiteness-the-gaikokujin-fu-foreign-like-
    #corps #beauté #femmes #géographie_culturelle #japon #cheveux #identité #altérité #orientalisme #blancheur #hakujin #blancs #représentation


    • Pas inclus dans le pdf, il y a un texte qui a été glissé dans la version papier —> un témoignage d’une personne sensible aux #ondes_électromagnétiques. Très beau texte du collectf #BOEM (« OEM vaut pour Ondes Electro-Magnétiques. Le B est resté à l’humeur du jour », peut-on lire...). Malheureusement, je ne le trouve pas en ligne.


  • Cartothèque Paris 8 —> vidéo online

    Les documentaires et films achetés par les bibliothèques et cartothèques de géographie pour leurs lecteurs le sont à des tarifs très élevés, l’exemple le plus frappant étant les émissions du Dessous des cartes, 11 minutes pour 22 euros. C’est pourquoi il est intéressant d’avoir connaissance des documentaires gratuits, en ligne sur internet.

    Sur ce lien, la cartothèque de Paris 8 met à disposition un petit catalogue (143 vidéos à ce jour) avec 3 modes de recherche.
    http://geographie.ipt.univ-paris8.fr/rubriks/carto/cartorub/videos/videos.php
    Une fois la référence choisie, il suffit de cliquer sur la photo pour atteindre la page internet contenant la vidéo. Celle-ci peut alors être projetée en cours ou signalée aux étudiants.

    #géographie #ressources_pédagogiques #vidéo #film #film_documentaire #documentaire


  • Urbanités africaines

    Articles

    Le projet de reconversion du #port de #Tanger : entre #urbanisme standardisé et jeux d’alliances locales ? par Brendan Blayac
    #Maroc

    Le programme d’appui à la reconstruction de la #Fédération_Sénégalaise_des_Habitants – vers un #urbanisme_participatif et solidaire, par Lionel Chabot, Pape Ameth Keita et Bea Varnai
    #Sénégal

    #Lagos, immensité et urbanité d’une ville d’Afrique subsaharienne fantasme dans les #séries_télévisées, par Pierre Denmat
    #Nigeria

    Les #programmes_de_logement public à #Yaoundé : entre laboratoire libéral et manifestations urbaines du clientélisme dans un #Cameroun post-austérité, par Mathilde Jourdam-Boutin

    Déplacer et relocaliser les citadins à #Lomé (#Togo) : l’urbanité négociée, par Amandine Spire et Natacha Gourland

    Vivre avec l’#insécurité_hydrique dans une ville sahélienne : les stratégies d’adaptation à #Niamey (#Niger), par Sandrine Vaucelle et Hassane Younsa Harouna
    #eau


    Portfolios

    Les #chantiers à Yaoundé et Douala, poétique des villes camerounaises en construction, par Mathilde Jourdam-Boutin

    Rien ne se perd, tout se récupère ! Pour une reconnaissance des #récupérateurs_informels de #Casablanca, par Pascal Garret et Bénédicte Florin
    #recyclage

    Les #toits du Caire, des espaces ressource ? par Marie Piessat
    #Le_Caire #Egypte

    http://www.revue-urbanites.fr/urbanites-africaines

    #villes #villes_africaines #revue #urban_matter #géographie_urbaine
    ping @reka


  • Géographie du souvenir. Ancrages spatiaux des mémoires de la #Shoah

    Comme l’écrit Denis Peschanski dans sa préface, le livre de #Dominique_Chevalier apporte une pierre importante aux études sur la Shoah et, de manière plus générale, à la réflexion sur les relations entre mémoire et #espace qui furent au cœur des travaux de Maurice Halbwachs. L’ambition de l’ouvrage est en effet d’articuler des régimes de spatialité à des régimes d’historicité, voire de #mémorialité, dans la lignée de la réflexion alimentée depuis les années 1990 sur les « lieux spatiaux », alors même que la notion de « #lieux_de_mémoire » esquivait en partie la relation au territoire.

    Pour mener à bien son entreprise, Dominique Chevalier définit une problématique, un objet, des espaces et une méthodologie. Les politiques mémorielles et patrimoniales de la Shoah, dans leur dimension spatiale, constitue l’objet de cette recherche dont le pari est d’étudier sous l’angle géographique les différentes formes de territorialités et de mémorialités des principaux musées-mémoriaux urbains mondiaux consacrés au judéocide. Les connexions entre échelles spatiales, échelles temporelles et échelles mémorielles, corrélées aux relations des rapports sociaux/spatiaux permettent la co-construction et la co-production de lieux de mémoire singuliers si remarquables qu’il paraît tout à fait légitime de parler de « régime de spatialité », nous prévient l’auteur (p. 18). Le questionnement se déploie alors dans plusieurs dimensions : géopolitique d’abord, territoriale ensuite, spatiale, à l’intérieur des musées, pour finir. C’est ainsi que, de l’échelle la plus réduite à la plus grande, se constitue un continuum entre des espaces distincts qui dessinent in fine une forme de mondialisation de la mémoire de la Shoah, tissée de circulations intenses. Encore fallait-il échapper aux pièges que tend la mémoire de la Shoah d’un continent à l’autre : aux États-Unis, le terme de « survivor » désigne tous les Juifs ayant survécu aux années 1930 et 1940, y compris ceux installés en Amérique, alors que celui de « rescapé », dans la tradition européenne et israélienne, ne désigne que ceux qui survécurent à l’expérience des camps.

    Quelles sont les répercussions spatiales, géographiques et géopolitiques de cette mémoire qui semble constamment et partout présente, bien au-delà des lieux d’exclusion, de concentration et d’extermination des Juifs pendant la guerre ? L’enquête commence à une échelle « macro » où sont situés les lieux commémoratifs mondiaux, avec une attention particulière pour ces lieux « délocalisés » spatialement, loin du terreau des souffrances, loin des « lieux-témoins » centre-européens. Ces lieux ex situ, qui n’utilisent pas le substrat tangible des camps comme « ressource mémorielle » (p. 205), échappent donc à la concordance mémoire/lieu. Ils constituent une ressource idéelle accentuant une production culturelle et spatiale inédite et spécifique : Yad Vashem, les musées de Washington, de New York, de Los Angeles, de Montréal mais aussi de Budapest, de Berlin, de Paris et de Varsovie, sont ainsi mobilisés. Quant à la méthode, Dominique Chevalier s’appuie sur des observations in situ et des témoignages qui dénotent un goût pour les rapports subjectifs des individus à l’espace, notamment en ce qui concerne l’analyse des pratiques des usagers.

    La première partie de l’ouvrage identifie quatre temps de la mémoire de la Shoah qui correspondent à quatre investissements spatiaux distincts. Le premier voit l’affrontement du mémorial de Paris et de Yad Vashem, à Jérusalem, dans les années 1950. La double concurrence, idéelle et idéologique, qui résulte de ces projets contraste avec le projet du kibboutz Lohamei Haghetaot, fondé par 196 rescapés de la Shoah. Le deuxième temps est celui de la guerre froide, de la guerre des Six Jours et de la guerre du Kippour qui contribue à lier étroitement la mémoire de la Shoah à celle de l’existence, un temps compromise, de l’État d’Israël. C’est sur ce substrat que la Shoah s’américanise rapidement, à partir de 1974-1977. Troisième temps, celui du Rideau de fer et de la chute du mur de Berlin où l’Allemagne s’impose comme un épicentre européen de la mémoire de la Shoah puis, dans son sillage, certains pays de l’Europe centrale comme la Hongrie et la Pologne. Enfin, à partir des années 2000, on assiste à une extension mondiale qui touche aussi bien l’Australie que l’Afrique du Sud, la Turquie ou, dans une moindre mesure, l’Iran.

    La deuxième partie de l’ouvrage se concentre sur les stratégies spatiales de chacune de ces créations ex situ qui révèlent une forme de globalisation des rapports au passé. En géographe, Dominique Chevalier avance une sorte de typologie des territoires mémoriaux de la Shoah sans s’éloigner du fil conducteur de sa réflexion qui est le phénomène de métropolisation des lieux de mémoire. Dans un premier cas de figure, le musée-mémorial s’articule de manière essentielle à l’histoire des Juifs dans un territoire donné : à Paris, le mémorial s’implante très tôt à proximité du Pletzl mais aussi, de façon plus étonnante, à Shanghai, Los Angeles ou Montréal, les musées s’implantent dans le quartier des rescapés. Deuxième cas de figure : la co-présence d’autres mémoires blessées qui établissent avec la Shoah un lien existentiel. À Melbourne, la mémoire du judéocide se trouve associée à celle des Aborigènes ; au Cap, à celle de l’esclavage ; à Fukuyama, à celle des bombes atomiques. En troisième lieu, les musées-mémoriaux s’enracinent dans des lieux symboliques mais dont la récurrence mémorielle n’est liée ni à un passé juif, ni à la possible communion avec d’autres mémoires douloureuses. Là, ils valorisent des territoires dans lesquels s’ancrent des architectures médiatisées, telles que celle de Berlin où intervint Daniel Libeskind mais aussi l’Holocaust Mahnmal de Peter Eisenman, et l’Holocaust Memorial Museum à Washington. La quatrième catégorie concerne les espaces offrant l’opportunité d’embrasser de larges paysages naturels, comme le mémorial de San Francisco, le Jewish Heritage Museum de New York et Yad Vashem à Jérusalem. Pour finir, Dominique Chevalier souligne combien la Maison de la Terreur, à Budapest, relève d’une logique à part qui est celle du non-lieu, d’un lieu excentré. Tous ces exemples ont en commun de constituer des instruments essentiels d’aménagement et de communication territoriale et politique, que ce soit celle de la catastrophe revendiquée pour légitimer a posteriori la création de l’État d’Israël, ou bien celle des culpabilités embarrassantes qui servent à expier les fautes, comme à Washington ou à Berlin. En bref, pour Dominique Chevalier, l’espace urbain est un « miroir social sur lequel se réfléchissent des intentions, des logiques d’acteurs, des temporalités, des références identitaires, des relations passé/présent et des rapports local/global particuliers » (p. 132).

    La troisième partie s’intéresse à la micro-échelle des lieux où se noue la connexion entre le lieu et le sujet sur le mode de l’expérience individuelle et collective. Accéder au musée, se déplacer en son sein puis franchir la distance qui sépare l’observateur d’un objet difficile à comprendre comme l’est la Shoah : tels sont les passages obligés auxquels se confrontent les visiteurs des lieux étudiés. Les corps sont de plus en plus mis à l’épreuve des mémoires blessées par des dispositifs architecturaux et muséographiques qui favorisent le déséquilibre, les troubles et les vertiges de l’espace. L’usage des sons et du jeu lumière/ténèbres y est intense. L’architecture se veut volontiers anxiogène afin de reproduire le récit mémoriel développé par les institutions muséales. Ces lieux mettent en scène trois formes spatiales privilégiées : l’espace de méditation, sorte de « cabinet de réflexion » (p. 167), qui prépare le visiteur à devenir témoin et à transmettre ce qu’il vient de voir ; des micro-territoires de reconstitution (une rue de ghetto, un wagon à bestiaux, etc.) ; des espaces de sacralisation de la nature qui sont autant de lieux de purification, de ressourcement moral à la gloire du Créateur ou de l’État, selon les versions. Cette mythification de la nature n’est pas propre aux musées de la Shoah mais elle y joue un rôle essentiel. L’auteur montre ainsi que les micro-agencements muséaux, organisés à travers des seuils, des passages, des déambulations, des frontières, des discontinuités, traduisent et incarnent des récits chronologiques et muséographiques. L’expérience souvent douloureuse de ces lieux cherche à se rapprocher, sur un plan physique et émotionnel, des trajectoires individuelles des victimes et des diasporas européennes.

    La dernière partie de l’ouvrage est consacrée au tourisme de mémoire, c’est-à-dire aux destinataires de tels lieux. L’expérience muséale n’a pas la même signification que le visiteur soit étudiant, chercheur, touriste, enfant de rescapé, juif ou pas, etc. Dominique Chevalier tente alors une comparaison des publics pédagogiques, qui constituent partout la part la plus importante des visiteurs, sur la base de trois cas d’étude (Washington, Jérusalem et Paris). Puis elle se concentre sur le touriste dont elle souligne les similarités avec les autres touristes patrimoniaux, culturels et urbains. À l’inverse, le thanatotourisme (dark tourism) des lieux de massacre ne trouve pas là de terrain privilégié dans la mesure où la relation matérielle et historique avec les lieux de la catastrophe y est distendue.

    En conclusion, l’auteur, à travers l’exemple de la Shoah, a indéniablement réussi à démontrer que la mémoire constitue (aussi) un objet spatial, et ceci à plusieurs échelles. La mémoire produit de l’espace « en conjuguant le global au local, le général au particulier » (p. 209). Ces lieux permettent à leur manière la circulation de savoirs entre les lieux mêmes de la destruction des Juifs d’Europe et les autres lieux attestant diverses mémoires douloureuses. Ces musées, qui sont bien souvent des vitrines architecturales, sont des éléments de valorisation des territoires, outils et produits du marketing culturel et patrimonial performant. En effet, le propre de ces lieux n’est pas le contenu de leurs collections mais leur capacité à raconter une histoire difficile. Au total, cet ouvrage remarquable ouvre une foule de nouvelles pistes de réflexion, des formes de l’autonomie du sujet à l’invention sociale des territoires. Il mérite indéniablement d’être lu.


    http://www.memoires-en-jeu.com/compte_rendu/geographie-du-souvenir-ancrages-spatiaux-des-memoires-de-la-shoah/
    #livre #mémoire #géographie #géographie_culturelle
    ping @reka


  • Manifestation en France pour la libération du « plus ancien prisonnier politique d’Europe »
    Par Alain Acco, édité par Romain David - 11h45, le 20 octobre 2018
    http://www.europe1.fr/societe/manifestation-en-france-pour-la-liberation-du-plus-ancien-prisonnier-politiq

    (...) La pression du pouvoir politique.
    Aussi surprenant que cela puisse paraître, celui qui l’a arrêté et fait condamner, l’ancien patron de la DST, le préfet Yves Bonnet, fait également partie de ceux qui réclament aujourd’hui sa libération. « S’il a été arrêté, c’est en grande partie parce que je m’en suis occupé. Aujourd’hui, je serai presque tenté de dire que je le regrette, pas dans la mesure où j’ai fait mon métier, mais la longueur de cette procédure est scandaleuse », explique-t-il. « Ça fait 20 ans que je considère qu’il doit être libéré », martèle cet ancien responsable.

    « Le dernier ministre qui s’est opposé à la libération de Georges Ibrahim Abdallah, c’est Manuel Valls, alors que l’instance judiciaire compétente avait conclu à sa libération et à son expulsion vers le Liban », relève-il. « Ce ne sont pas les juges qu’il faut incriminer, c’est le pouvoir politique », conclut Yves Bonnet.

    #Georges_Ibrahim_Abdallah


  • Revue L’Information géographique 2013/4 | Cairn.info

    https://www.cairn.info/revue-l-information-geographique-2013-4.htm

    Merci à Françoise Bahoken @fbahoken - quand tu trouves un truc génial comme ça tu peux ausi le mettre sur seenthis ;)

    Matthieu Noucher
    Page 6 à 9 Introduction
    Premières lignes Version HTML Version PDF
    Gilles Palsky
    Page 10 à 25 Cartographie participative, cartographie indisciplinée
    Résumé Version HTML Version PDF
    Page I à IV Cahier couleur
    Premières lignes Version HTML Version PDF
    Cartographies participatives
    Jean-Christophe Plantin
    Page 26 à 28 La cartographie de la radiation après Fukushima. Un cas d’individualisme réflexif sur le Web
    Un cas d’individualisme réflexif sur le Web
    Résumé Version HTML Version PDF
    Thierry Joliveau, Matthieu Noucher, Stéphane Roche
    Page 29 à 46 La cartographie 2.0, vers une approche critique d’un nouveau régime cartographique
    Résumé Version HTML Version PDF
    Xavier Amelot
    Page 47 à 67 Cartographie participative pour le développement local et la gestion de l’environnement à Madagascar : empowerment, impérialisme numérique ou illusion participative ?
    Résumé Version HTML Version PDF
    Federica Burini
    Page 68 à 87 L’évolution de la cartographie auprès des sociétés traditionnelles en Afrique subsaharienne
    Résumé Version HTML Version PDF
    Denis Retaillé
    Page 88 à 108 Cartographie, quadrillage et ordre sédentaire
    Résumé Version HTML Version PDF
    Hubert Mazurek
    Page 109 à 148 Cartographie : vision ou reflet ? Une réflexion autour des « références indigènes »
    Résumé Version HTML Version PDF
    La géographie sur internet
    Catherine Didier-Fèvre, Matthieu Noucher
    Page 149 à 151 Cartographie participative sur le net
    Premières lignes Version HTML Version PDF


  • « Le voyage vers l’empire a déjà commencé » (1/2)
    https://collectiflieuxcommuns.fr/?Le-voyage-vers-l-empire-a-deja-925

    Émission « Offensive Sonore » sur Radio-libertaire (89.4) diffusée le 18 mai 2018. Les quelques ajouts ont été mis entre crochets. Cyrille : L’émission d’aujourd’hui est consacrée à une brochure de #Lieux_Communs et nous avons invité Quentin pour en parler. C’est une brochure atypique, même pour Lieux Communs qui a des thèmes assez atypiques ! C’est L’horizon impérial – sociétés chaotiques et logique d’empire . Première question : pourquoi ce thème ? A partir de quelles réflexions en es-tu arrivé là ? Quentin (...)

    #Comptes-rendus_d'interventions

    / Lieux Communs, #Géopolitique, #Prospective, #Entretien, #Totalitarisme, #Empire, #Guerre, #Relativisme, (...)

    #Post-modernisme
    https://collectiflieuxcommuns.fr/IMG/mp3/os-lieux_communs_horizon_imperial.mp3


  • #Filmgeographies

    Film geographies is a forum that includes everything related to films and geography. We stream films made by geographers, and films about geography. We offer a space where films cannot just be peer reviewed, but they can also be interpreted by viewers - as authors of films we don’t or can’t explain everything our films are saying. Films can be essayistic in the structure, but they are not the same as texts. We make films so they can relay our arguments but you might find other points, reflections and emotions. Part of the pleasure of making films is allowing people to watch them and reinterpret them according to their lived reality.

    From the academic point of view these films offer both an academic essay and something that people can write about in their own academic essays. From the external point of view Filmgeographies allows us to know more about local communities from all over the world through a wider range of perspectives.

    http://filmgeographies.com
    #films #géographie #cinéma #ressources_pédagogiques
    ping @reka @albertocampiphoto