Skip to main content Accessibility help
×
Hostname: page-component-77c89778f8-sh8wx Total loading time: 0 Render date: 2024-07-21T08:22:08.825Z Has data issue: false hasContentIssue false
This chapter is part of a book that is no longer available to purchase from Cambridge Core

2 - Horizons of Perception

Get access

Summary

By directing our gaze we also avert our eyes.

Tara Polzer and Laura Hammond

In/visible relations

Through the Wire, Pip Starr's documentary of the 2002 protests at Woomera IRPC, vividly describes how visibility is framed by the camp dispositif. During the protests, demonstrators ruptured the perimeter fence and mingled with the detainees – a moment that, for Suvendrini Perera, embodied a form of political communitas where ‘[e]veryone is, joyously, un-Australian’. Starr's documentary emphasizes, however, a more contingent understanding of how (citizen) demonstrator and (non-citizen) detainee appear to one another in the camp dispositif. Starr employs what I would call striated framing, frequently foregrounding the metal and chain-link fences that surround the camp, which, contra Perera's syncretic community, draws attention to the exclusionary forces that shape the dispositif.

The documentary is accompanied by the voiceover of an anonymous asylum seeker explaining why he claimed asylum in Australia:

In such a dictator government [sic], like Iranian government, you have to believe what they believe. You have to believe what Ayatollah believes. I don't – I believe what I believe. In Iran protest is illegal – you disappear or they kill you, and no-one knows what has happened to you.

As this point the camera zooms in on a chain-link fence in the foreground, which is divided into adjacent subsections, beyond which the demonstrators are seen approaching the compound where the detainees are penned by a steel fence. The visual effect is one of multiple striation, in which the camera is separated from the protesters by two sections of chain-link fence at right angles to each other, and from the detainees by a further inner barrier. As the words ‘you disappear’ are spoken the film cuts to a bare-chested detainee pleading with the demonstrators from behind the inner metal fence. His words are not included on the soundtrack, however, and the conjunction of this silent, striated image and the anonymous, non-diegetic voiceover problematizes Perera's diagnosis of communitas: in Starr's film (dis)appearance is regulated by the divisions imposed by the camp.

In this chapter I will examine how the forces that associate visibility and voice are encapsulated in the camp dispositifand also how infrahuman subjects can articulate their own appearance in such a way that reconfigures political relations.

Type
Chapter
Information
Postcolonial Asylum
Seeking Sanctuary Before the Law
, pp. 57 - 91
Publisher: Liverpool University Press
Print publication year: 2011

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×