v18n2 (October, 2024)

    Shima

    ISSN: 1834-6057

    v18n2

    1. Contents
    2. Introduction: Islands and Audiovisual Media 10.21463/shima.231
      Philip Hayward and Panayiota Mini
    3. After Television in the Azores: Broadcasting an Archipelago 10.21463/shima.222
      Inês Vieira Rodrigues
      Television, archipelagic interiority, territory, the Azores, architectural apparatus
      This article draws on a situated perspective to address the creation of the television broadcast service in the Azores (through the RTP- Açores channel) and its role in constructing a political narrative grounded in territory, society and culture. Through discussion of the insularity of the Azores, media architectural apparatus and the concrete effect of mediated interventions, the proposal is that the Azores exist socially and politically through audiovisual mediation. With the arrival of television, the nine islands began ‘to turn towards each other,’ constituting a mediated space – a new public arena – which gave rise to a new, modern, archipelagic interiority. Simply put, it can be contended that the Azorean archipelago is only possible through media agency, and it consists of a territory that was formed through its representation. As media and territory are contingent, I contend that it is less interesting to think about the relationship between the Azorean territory and the media as it is to think about the Azorean territory as media.
    4. Breathing With the Camera: A portrait of Orkney through experimental films 10.21463/shima.240
      Ross Mclean
      Orkney, film, place, relational, islandness
      The outward representation of the Orkney archipelago, around 10 miles off the north coast of Scotland, is mainly predicated on scenic imagery, of standing stones and other archaeological settlements, sea cliffs and wild seas, fishing boats in harbour townscapes, expansive beaches with turquoise waters, all playing a prominent role in projecting a sense of ‘islandness’. Yet, this representation lacks cultural depth, using landscape as a setting based on objectified and disengaged tropes, of the ancient past, remote or wild places, or insular communities. In contrast, Orkney based artists working with film allow us to emerge into a sense of place charged by cultural, experiential and ecological qualities. In their work we see tired tropes of landscape replaced with creatively charged expressions of the island as a relational place. Across this study, the evaluation of these artists’ films is framed through a set of relational qualities, the island as a situated, imagined, sensed, ambient and resourceful place, ultimately being a constructed place where filmmaking and island life merge.
    5. Alternative Imaginaries of Cyprus: Space and Narrative Re/construction in Local Music Video Production 10.21463/shima.227
      Costas Constandinides and Maria Kouvarou
      Republic of Cyprus, music videos, independent music scene, Greek Cypriot Cinema, alternative imaginaries, identity
      The article offers a close reading of music videos created in the Republic of Cyprus during the past two decades, focusing specifically on the ways the audiovisual texts represent space and (re)construct narratives in/of the Greek Cypriot context. Building on existing work in the area of lens-based media studies, namely cinema and photography, the article firstly examines how music videos co-exist and converse with other types of audiovisual representations of the island of Cyprus. Secondly, it presents a classification of local music videos, based on how such creative outputs represent Cyprus as a locale. In doing so, it highlights the ways in which alternative visual treatments might, consciously or otherwise, speak back to and rewrite narratives associated with specific places. The videos are also examined in relation to the lyrical content of the songs and the music genres they belong to. Our work contributes to the expanding body of research on the popular music scape of the island, particularly concentrating on the transgressive dynamic of strands of the Greek Cypriot independent music scene. This is the first study that offers a close examination of local music video production, which we place in the growing scholarly debates about how recent artistic expression in the Republic of Cyprus destabilises dominant representations of space and identity and produces new aesthetics of the Cypriot experience.
    6. Of Casinos and Mangoes: Korean Drama Representations of the Philippine Islands 10.21463/shima.233
      Hazel T. Biana
      Korean TV Drama, representation, Philippines, Islands, Hallyu
      A noticeable trope in South Korean dramas is using actual specific islands as settings. The Philippine islands have been mentioned and portrayed in almost all types of Korean TV drama genres, such as romance, suspense, drama, comedy, action, crime and fantasy. In the first part of the article, these fictional island representations are examined to uncover two types of depictions of cultures of ‘islandness’ or constructions of island identity, the first of which is tropical and paradisiacal, where everything is exotically beautiful, blissful, and bountiful; and the second, dark, dangerous, and chaotic, where criminals and outcasts exercise corruption and power. The second part examines ‘cultural-imperial’ or ‘re- oriental’ suggestions and assumptions in these K-dramas.
    7. The Beluga Triangle: Pour la suite du monde (1962), New Quebec Cinema, and the urban/rural dialectic 10.21463/shima.234
      Anthony Kinik
      documentary film, ethnographic film, cinéma vécu, urban-rural dialectic, New Quebec Cinema
      One of the most celebrated documentaries to emerge from Quebec during the 1960s was Pierre Perrault and Michel Brault’s cinéma vécu classic Pour la suite du monde (1962). This intimate portrait of life on Île-aux-Coudres, an island in Eastern Quebec that sits in the Saint Lawrence River, is generally understood as a work of salvage ethnography. The filmmakers encouraged the island’s inhabitants to take up traditional practices that had long fallen by the wayside and had to be learned from the community’s elders: the hunt of the beluga whale. I’d like to reconsider this film as a work that is not only based on a dialectical tension between the city and the country, but also on tensions between three island formations: Île aux Coudres, Montreal, and New York City. The Montreal connection had to do with the project’s filmmakers and the studio that produced it, while New York came into play late in the film when a beluga whale was transferred to the New York Aquarium. Among other concerns, the foundational myths of all three islands are based on stories of First Contact between European settlers and Indigenous peoples, and, thus, this aspect of Perrault’s film is intensified if we take this approach.
    8. Tonia Marketaki’s The Price of Love (1983): The Corfu of class differences and universal archetypes 10.21463/shima.235
      Panayiota Mini
      Greek cinema, Corfu, island representation, film adaptation, Tonia Marketaki
      Tonia Marketaki’s I timi tis agapis (The Price of Love, 1983) is a film adaptation of the novel Honour and Money (1912) by renowned Greek author Konstantinos Theotokis (1872-1923), the plot of which is set in Corfu in the early 20th century and revolves around a romance doomed to fail due to economic and social factors. As the article points out, before Marketaki’s film, mainstream Greek cinema portrayed Corfu from a tourist perspective, with a few unconventional productions showing the island in an unflattering light. In The Price of Love, Marketaki departed from these traditions by capturing the island’s beauty in pictorial compositions, giving it a fairytale quality. She combined this fairytale charm with Theotokis’s social criticism and changed or added scenes to Honour and Money that expanded Theotokis’s political commentary or gave it psychoanalytic dimensions. Marketaki’s Corfu, the article argues, is a setting where significant social differences and Jung’s universal, archetypal opposites intersect. The Price of Love thus encourages viewers to see the island in a new light and prompts a broader consideration of audiovisual representations of islands as part of a dialogue with previous or contemporary reconstructions and other disciplines. The article supports its argument through a comparative analysis of the film and the novel, also drawing material from Marketaki’s archive.
    9. Makronisos as a Lieu De Mémoire: Filmic versions of the island’s landscape 10.21463/shima.241
      Lina Rosi
      Makronisos, exile islands, Realms of memory (lieux de mémoire), Group of Four, Pantelis Voulgaris, Olivier Zuchuat, Ilias Yannakakis, Evi Karabatsou
      Among the Greek islands that served as places of exile in the 20th century, Makronisos holds a prominent position due to its unique history. During the Greek Civil War in the late 1940s, a ‘rehabilitation’ camp was established on the island under army control. Physical and psychological torture was the primary method for implementing rehabilitation, aiming at ‘reforming’ young recruits and civilians who were under the sway of communist ideology. When the Civil War and its traumatic impact on postwar Greek society became the subjects of public debate during the Metapolitefsi (restoration of democracy), Makronisos remained a widely discussed case, and in 1989 it was officially proclaimed as a historical site. The contribution of cinema to the construction of the island as exemplary lieu de mémoire (‘realm of memory’) is significant. Making extensive use of archival material, filmmakers have constructed visual narratives and drawn a new mapping of the island’s natural and symbolic geography. This article examines four films about Makronisos produced over a span of nearly forty years, from 1975 to 2012, and explores the way in which each film represents the island’s status as memory place. It discusses how the different versions of the traumatic memories of the Civil War are recorded on the natural and architectural landscape of the island and how each director discovers, interprets and brings to the fore its haunted topoi, mapping anew the geography of collective memory, through the insisting presence of traces that the camera discovers, and transforming each film itself into a lieu de mémoire.
    10. Capraia Island and Its Representation in Audiovisual Media: Recounting a carceral, agro-pastoral and eco-touristic landscape 10.21463/shima.226
      Pietro Agnoletto, Fausto Di Quarto, & Marco Nocente
      Island Studies, audiovisual analysis, popular geopolitics, regimes of visibility, ecotourism
      This article explores the shifting representations of the landscape of Capraia island in popular audiovisual media. Through analyses based on a framework delineated by popular geopolitics we explore three different media categories which have portrayed the island over the last decades: naturalistic and historical documentaries, tourism centred TV programs and vernacular audiovisual representations. The aim was to reveal intertwined discourses within broader socio-political factors and histories. The carceral landscape of the former penal colony declined and was replaced by ecotourism and agro-pastoral activities. These top-down narratives obscured the complexity of islanders’ reality, focusing on possible sustainable tourist scenarios as well as romanticising the appearance of a Mediterranean island as near pristine. Nonetheless, if vernacular representations, such as home movies and grassroots interviews, are taken into consideration, local voices and tourist perspectives emerge. We no longer have a one-sided story and polysemy, criticality, and friction become inherent characteristics of recent representations.
    11. Two Girls by the Sea: Reflections on the role of the island in the Faroese film Dreams by the Sea 10.21463/shima.237
      Firouz Gaini
      Film, island, youth, migration, temporality
      This essay discusses island films as a possible cinematographic genre based on the case of the Faroese feature film Dreams by the Sea (Sakaris Stórá, 2017). It examines the role and meaning – as focus and locus – of the island in the award-winning Faroese production, which takes viewers to a small remote village in the northwestern Atlantic island community. Dreams by the Sea is about young lives, islandness, and future dreams. New Faroese cinema aims to de-exoticise the islands and to picture and narrate the stories that too often are – intentionally or unintentionally – kept out of the public eye. This essay is based on my extensive ethnographic research among Faroese youngsters since the beginning of the 21st century with special focus on the film landscape of contemporary island youth. The main findings of the essay were presented at the international Islands and audiovisual media conference organised in Torshavn, the Faroe Islands, 26-28 June (2024).
    12. Peter Brook’s Lord of the Flies: Violence on Vieques 10.21463/shima.239
      Catherine Russell
      Cold War, non-professional actors, Caribbean history, situation, Robinsonade
      The 1963 film adaptation of William Golding’s 1954 novel of Lord of the Flies has become a classic of US Independent Cinema. By comparing the situation of the film shoot on the Caribbean island of Vieques (part of Puerto Rico) with Golding’s parable about human violence, this article explores the ironic failure of the filmmakers to recognise the historical violence that continued to plague this particular island as a contested site. Peter Brook’s approach to the novel demanded an attitude of innocence on the part of his novice actors and crew members to capture the authenticity that he sought. His so-called documentary approach to an island narrative was only achieved through the fiction of obfuscating the real violence taking place on and around Vieques.
    13. Ram Setu and Delusions of Archaeological Grandeur: The Politics of Obscuring a Sacred Geology 10.21463/shima.238
      Arup K. Chatterjee
      Ram Setu, Adam’s Bridge, India, Sri Lanka, aquapelago, Anthropocene
      This article discusses the Indian film Ram Setu (2022) against the backdrop of 21st century public discourses, geological debates, legal proceedings and the general surge of politics revolving around the eponymous tombolo – Ram Setu/Adam’s Bridge (understood by geologists as a stretch of 103 patchy reefs or shallow shoals connecting India’s Rameswaram Island with Sri Lanka’s Mannar Island). It is important to question the locus standi of not only the filmmakers but also the film’s widespread critics. The bulk of the criticism against the film converged around the notion that the filmmakers had attempted to pander to growing Hindutva-oriented sentiments in India. What is more concerning, however, is that both the filmmakers and the film’s critics have remained silent on the tombolo’s aquapelagicity. While the film’s emphasis on archaeology as a methodology of reconstructing the tombolo’s past signals delusions of grandeur, the continued absence of a voice to highlight its geological history is equally disingenuous. Seen through the critical lenses of Island Studies, the film Ram Setu is seen to obscure holistic perspectives of the sacred aquapelago of Rameswaram Island, Dhanushkodi, Thalaimannar and Mannar Island and its entanglements with questions of Tamil fisher’s livelihoods and environmental heritages of the Sethusamudram region.
    14. Reframing Asinara: From ‘the Devil’s Island’ to an ‘uncontaminated nature paradise’ 10.21463/shima.228
      Elena dell’Agnese
      Asinara, prison island, maximum security prison, paradise-island
      Like many other islands in the Mediterranean, Asinara, located to the north of Sardinia, has been a prison island for a long time. Unlike other islands, however, which often housed other forms of use and activities together with their prisons, Asinara was emptied of its population and used solely as a detention centre for more than a century. It was first an agricultural penal colony and a quarantine station for maritime travellers, then a concentration camp, and finally a maximum-security prison, where the ‘enemies’ of the Italian state (terrorists and mafiosi) were detained under extremely harsh conditions (this has led to it being called by sinister epithets such as Devil’s Island, or Italian Cayenne). Since only prison-related activities were allowed on the island, human presence has remained very limited. As a result, although its vegetation and fauna have been massively altered over the years, Asinara has retained a seemingly ‘uncontaminated’ appearance. Today, this allows the island to be reframed as a park and natural oasis, on the one hand rehabilitating its past (after all, it was the prison that kept out land development) and, on the other hand, stimulating the arrival of visitors. As far as the past is concerned, the available visual images are very limited, and consist of a few postcards and snapshots, offering an institutional image of the prison facilities or a ‘normalising’ view of the activities conducted outside them by the relations of the correctional officers (the inmates did not have cameras, and their point of view can only be grasped through their writings). Much richer is the visual material produced after the prison’s closure, both by the main Italian television networks and by the Park Authority itself. This material was analysed in order to study the changing image of an island that, after becoming a gulag, is now portrayed as paradise.
    15. Island Political Parties: Differentiating factors in political life in the Canary Islands 10.21463/shima.229
      Alberto Javier Báez-García, Francisco Flores-Muñoz, & Josué Gutiérrez-Barroso
      Islands, islandness, island political parties, Canary Islands
      This article provides an analysis of the role and evolution of island political parties in the Canary Islands. These political organisations emerge due to the inherent and unique characteristics typical of island life, which mainland territories do not possess. Through a descriptive methodology, electoral surveys are developed for each island alongside a summary table illustrating the combined influence and trajectory of these parties in island elections. Their significance in defending local identity, capacity to form coalitions and lead island governments are emphasised. Similarly, their focus on the island realm, flexibility in negotiations and pursuit of island power are identified. These parties emerge as significant political actors that could serve as examples for other islands facing similar challenges. Their ability to address island needs and promote island-centric development positions them as fundamental elements in the island politics of the Canary Islands, thus contributing to a more representative governance structure.
    16. Beyond National Borders: The troubled relationship between Corsica and Sardinia (1948-2020) 10.21463/shima.224
      Marcel A. Farinelli
      impeded archipelago, trans-border relations, Corsica, Sardinia
      Corsica and Sardinia are two Mediterranean islands, belonging to two different mainland countries: France and Italy. The islands are separated by the Strait of Bonifacio, which at its narrow point is 13 km wide. This has enabled a bond between the population living on both sides. However, this relationship has progressively been disrupted since the 19th century. The islands can be described as an ‘impeded archipelago’, an island group where existing links were not only removed but also potential new relations have been discouraged. Nevertheless, since the second half of the 20th century, Sardinian and Corsican political and economic elites have tried to establish an island-to-island cooperation. Despite their attempts, it was just in 2016 that the Corsican and Sardinian local governments signed an agreement. This article aims to explore the concept of an impeded archipelago through a detailed analysis of the attempts made to establish an island-to-island relationship, and of the elements that have disrupted this relation, from 1948 to 2020. In doing so, it also provides some reflections on the implications and challenges of a fragmented geography and economy for Island Studies.
    17. Examining Complexities of Artisanal and Small-Scale Gold Mining on Buru Island, Maluku Province, Indonesia 10.21463/shima.230
      Yusthinus Thobias Male, Amanda Reichelt-Brushett, Mia Donnelly, Caroline Sullivan, Muhamad Sehol, Alberth Nanlohy, & Abraham Mariwy
      illegal mining, mercury, human health, community, pollution
      The Artisanal and Small-scale Gold Mining (ASGM) sector is presently one of the largest global sources of anthropogenic mercury emissions. The risk of mercury pollution from ASGM in Indonesia challenges other important industries including fisheries and tourism. Environmental degradation and risks to food safety and human health are major concerns that have been realised at local scales, including on Buru Island, Indonesia. Since the discovery of gold on Buru Island in 2011 the community has undergone dramatic changes. Some of these, such as rapid wealth accumulation, have been of benefit to people involved in the industry, however, they have been marred by negative social and economic consequences including rapid inflation, reduced rice production, and changes to the social fabric. We explore the Buru Island example through over 12 years of research interest and using empirical material through a socio-legal lens. Various legislative changes and government interventions have occurred since 2011 and there are complex interactions between industry players. Currently, the mining is low key with ore being transported to ‘back yard’ processing operations while a permitting system is anticipated. There is a legacy of land degradation and contamination as a result of the mining and ore processing. Alternatives to mercury are being considered but are challenged by uncertainty about product effectiveness, potential toxicity, and a lack of processing knowledge.
    18. Feature Review: Liquid Knots: Kate Judith’s Exploring Interstitiality with Mangroves: Semiotic Materialism and the Environmental Humanities (Routledge/Earthscan, 2023) 10.21463/shima.216
      Philip Hayward