{"id":7900,"date":"2020-07-14T15:03:24","date_gmt":"2020-07-14T14:03:24","guid":{"rendered":"https:\/\/www.imex-revista.com\/xviii-the-river-and-the-wall\/"},"modified":"2021-06-01T12:05:26","modified_gmt":"2021-06-01T11:05:26","slug":"xviii-the-river-and-the-wall","status":"publish","type":"post","link":"https:\/\/www.imex-revista.com\/en\/xviii-the-river-and-the-wall\/","title":{"rendered":"XVIII. Martina Moeller \u2013 Politics in The River and The Wall (2017)"},"content":{"rendered":"[vc_row type=&#8221;full_width_background&#8221; full_screen_row_position=&#8221;middle&#8221; bg_image=&#8221;31&#8243; bg_position=&#8221;left top&#8221; bg_repeat=&#8221;repeat&#8221; parallax_bg=&#8221;true&#8221; parallax_bg_speed=&#8221;slow&#8221; scene_position=&#8221;center&#8221; text_color=&#8221;dark&#8221; text_align=&#8221;left&#8221; top_padding=&#8221;0&#8243; bottom_padding=&#8221;30&#8243; overlay_strength=&#8221;1&#8243; shape_divider_position=&#8221;bottom&#8221; shape_type=&#8221;&#8221;][vc_column column_padding=&#8221;no-extra-padding&#8221; column_padding_position=&#8221;all&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; width=&#8221;1\/1&#8243; tablet_text_alignment=&#8221;default&#8221; phone_text_alignment=&#8221;default&#8221; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][vc_column_text]\n<p style=\"text-align: center;\"><a class=\"nectar-button n-sc-button small accent-color has-icon regular-button\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/download\/7807\/\" data-color-override=\"false\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Download Issue<\/span><i class=\"icon-button-arrow\"><\/i><\/a> <a class=\"nectar-button n-sc-button small accent-color has-icon regular-button\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/download\/7799\/\" data-color-override=\"false\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Download Article<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n[\/vc_column_text][vc_row_inner column_margin=&#8221;default&#8221; text_align=&#8221;left&#8221;][vc_column_inner column_padding=&#8221;no-extra-padding&#8221; column_padding_position=&#8221;all&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; width=&#8221;1\/1&#8243; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;30&#8243;][vc_column_text]\n<p style=\"text-align: center;\"><span style=\"color: #b0b0b0;\"><strong>Politics in <em>The River and The Wall<\/em> (2017)<br \/>\n<\/strong><strong>(pp. 99-111; DOI: 10.23692\/iMex.18.7)<\/strong><\/span><\/p>\n[\/vc_column_text][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;80&#8243;][vc_column_text]\n<p style=\"text-align: center;\"><div class=\"ead-preview\"><div class=\"ead-document\" style=\"position: relative;\"><div class=\"ead-iframe-wrapper\"><iframe src=\"\/\/docs.google.com\/viewer?url=https%3A%2F%2Fwww.imex-revista.com%2Fwp-content%2Fuploads%2F6_MM_The-River-and-the-Wall_iMex18.pdf&amp;embedded=true&amp;hl=en\" title=\"Embedded Document\" class=\"ead-iframe\" style=\"width: 80%;height: 80%;border: none;min-height: 500px;visibility: hidden;\"><\/iframe><\/div>\t\t\t<div class=\"ead-document-loading\" style=\"width:100%;height:100%;position:absolute;left:0;top:0;z-index:10;\">\n\t\t\t\t<div class=\"ead-loading-wrap\">\n\t\t\t\t\t<div class=\"ead-loading-main\">\n\t\t\t\t\t\t<div class=\"ead-loading\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/loading.svg\" width=\"55\" height=\"55\" alt=\"Loader\">\n\t\t\t\t\t\t\t<span>Loading...<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<div class=\"ead-loading-foot\">\n\t\t\t\t\t\t<div class=\"ead-loading-foot-title\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/EAD-logo.svg\" alt=\"EAD Logo\" width=\"36\" height=\"23\"\/>\n\t\t\t\t\t\t\t<span>Taking too long?<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<div class=\"ead-document-btn ead-reload-btn\" role=\"button\">\n\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/reload.svg\" alt=\"Reload\" width=\"12\" height=\"12\"\/> Reload document\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<span>|<\/span>\n\t\t\t\t\t\t\t<a href=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/6_MM_The-River-and-the-Wall_iMex18.pdf\" class=\"ead-document-btn\" target=\"_blank\">\n\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/open.svg\" alt=\"Open\" width=\"12\" height=\"12\"\/> Open in new tab\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div><\/div>\n[\/vc_column_text][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;80&#8243;][vc_column_text]\n<h3><span style=\"color: #ffffff;\"><strong><span style=\"color: #b0b0b0;\">Prof. Dr. Martina Moeller<br \/>\n<\/span><\/strong><\/span><\/h3>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-7896\" src=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/Martina-Moeller-Photo_iMex-205x300.png\" alt=\"\" width=\"150\" height=\"220\" srcset=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/Martina-Moeller-Photo_iMex-205x300.png 205w, https:\/\/www.imex-revista.com\/wp-content\/uploads\/Martina-Moeller-Photo_iMex.png 247w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">Martina Moeller worked from 2003 to 2006 as lecturer in Film Studies at the International Summer School of the University of Kassel (Germany) and from 2006 to 2010 as lecturer in German at the University of Provence (Aix-Marseille I, France). In 2010, she completed her PhD on German rubble films at Anglia Ruskin University. She has published articles on visual style, narration, religious aesthetics and Romantic discourse in rubble films as well as on Intercultural subjects. Her PhD was published under the title <em>Rubble, Ruins and Romanticism: Visual Style, Narration and Identity in German Post-War Cinema<\/em> by Transcript Verlag (Germany) in 2013. Moeller has also organised several international conferences in France, Germany, Morocco and Tunisia. Publications include <em>Interkulturelle Kommunikation in Texten und Diskursen<\/em> (with Ulrike Dorfm\u00fcller published in 2010 by Peter Lang Verlag, Frankfurt), <em>Kunst und Stacheldraht<\/em> with C\u00e9cile Bonnet, OFLAG VI A in Soest 2009, and <em>Interkulturalit\u00e4t in Theorie und Praxis<\/em> in May 2013 in Rabat. From 2011 to 2016, Moeller worked as a DAAD lecturer at the Universit\u00e9 Mohammed V in Rabat, Morocco; since 2016 she has been working for the DAAD at the Universit\u00e9 de la Manouba in Tunis, Tunisia.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;50&#8243;][tabbed_section style=&#8221;default&#8221; alignment=&#8221;left&#8221; spacing=&#8221;default&#8221; tab_color=&#8221;Accent-Color&#8221;][tab icon_family=&#8221;none&#8221; title=&#8221;Abstract&#8221; id=&#8221;1580125134478-0d2af-d2ea&#8221; tab_id=&#8221;1591949764465-3&#8243;][vc_column_text]\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">This study examines in how far Ben Masters manages to combine in his nature film <em>The River and the Wall<\/em>\u00a0(2017) two goals: to document the borderlands and to explore the potential impact of a future wall on the natural environment. In this context, the study explores in detail how discourses around nature, border fences and immigration are presented in the film and to what extend they are critical of Trump&#8217;s wall project. The author comes to the conclusion that the film\u2019s suggestion to create a bi-national park along the borderlands is strongly reminiscent of John Muir&#8217;s romantic legacy. However, precisely this romanticized focus on nature seems to undermine the political discussion, because it marginalizes key aspects of the debate, from illegal migration to drug trafficking, in its nostalgic proposal to go back to cowboy \u2018roots\u2019.<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">\u00a0<\/span><\/p>\n[\/vc_column_text][\/tab][tab icon_family=&#8221;none&#8221; title=&#8221;Resumen&#8221; id=&#8221;1580125134518-1d2af-d2ea&#8221; tab_id=&#8221;1591949764497-8&#8243;][vc_column_text]\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">Este estudio examina hasta qu\u00e9 punto Ben Masters logra combinar en su documental sobre la naturaleza <em>The River and the Wall<\/em> (2017) dos objetivos: documentar las tierras fronterizas y explorar el impacto potencial de un futuro muro en el entorno natural. En este contexto, el estudio analiza en detalle c\u00f3mo los discursos sobre la naturaleza, las vallas fronterizas y la inmigraci\u00f3n se presentan en la pel\u00edcula y en qu\u00e9 medida son cr\u00edticos del proyecto del muro de Trump. El autor llega a la conclusi\u00f3n de que la propuesta de la pel\u00edcula de construir un parque binacional a lo largo de la frontera recuerda mucho el legado rom\u00e1ntico de John Muir. Sin embargo, precisamente este enfoque rom\u00e1ntico en la naturaleza parece socavar la cr\u00edtica pol\u00edtica, ya que margina aspectos clave del debate, desde la migraci\u00f3n ilegal hasta el narcotr\u00e1fico, en su propuesta nost\u00e1lgica de volver a las \u2018ra\u00edces\u2019 del vaquero.<\/span><\/p>\n[\/vc_column_text][\/tab][tab icon_family=&#8221;none&#8221; title=&#8221;iMex N\u00b018 | US-Mexican Encounters in Contemporary Film&#8221; id=&#8221;1580125134563-4d2af-d2ea&#8221; tab_id=&#8221;1591949764527-4&#8243;][vc_column_text]<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xviii-editorial\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Guido Rings \/ Stephen Trinder \u2013 Editorial<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<p><span style=\"color: #ffffff;\"><strong>Articles<\/strong><\/span><\/p>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xviii-poetica-contra-politica\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>C\u00e9cile Brochard \/ Oscar Torres \u2013 Po\u00e9tica contra pol\u00edtica<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xviii-trump-politics-of-fear\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Douglas E. Forster \u2013 Trump\u2019s Politics of Fear<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xviii-sicario-films\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>James Shelton \u2013 Narrative and the \u2018Norteamericano\u2019 in the Sicario Films<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xviii-contested-border-crossings\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Lara Lengel \/ Victoria A. Newsom \u2013 Contested Border Crossings<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xviii-trumps-rhetoric-influence\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Erica Berzaghi \/ Frank O\u2019Sullivan \u2013 Trump\u2019s Rhetoric Influence<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xviii-the-river-and-the-wall\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Martina Moeller \u2013 Politics in <em>The River and The Wall<\/em><\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xviii-re-animating-mexicanidad\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Jessica Wax-Edwards \u2013 Re-Animating Mexicanidad<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xviii-coco-trump-era\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Sandra L. L\u00f3pez Varela \u2013 Pixar\u2019s <em>Coco <\/em>during the Trump Era<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xviii-resenas\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Review<\/span><i class=\"icon-button-arrow\"><\/i><\/a>[\/vc_column_text][\/tab][\/tabbed_section][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"<p>[vc_row type=&#8221;full_width_background&#8221; full_screen_row_position=&#8221;middle&#8221; bg_image=&#8221;31&#8243; bg_position=&#8221;left top&#8221; bg_repeat=&#8221;repeat&#8221; parallax_bg=&#8221;true&#8221; parallax_bg_speed=&#8221;slow&#8221; scene_position=&#8221;center&#8221; text_color=&#8221;dark&#8221; text_align=&#8221;left&#8221; top_padding=&#8221;0&#8243; bottom_padding=&#8221;30&#8243; overlay_strength=&#8221;1&#8243; shape_divider_position=&#8221;bottom&#8221; shape_type=&#8221;&#8221;][vc_column column_padding=&#8221;no-extra-padding&#8221; column_padding_position=&#8221;all&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; width=&#8221;1\/1&#8243; tablet_text_alignment=&#8221;default&#8221; phone_text_alignment=&#8221;default&#8221; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][vc_column_text] [\/vc_column_text][vc_row_inner column_margin=&#8221;default&#8221;&#8230;<\/p>\n","protected":false},"author":2,"featured_media":13221,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[580,1570,1577],"tags":[1681,1674,1682,1684,1683,1673,1680],"class_list":["post-7900","post","type-post","status-publish","format-standard","has-post-thumbnail","category-issues","category-xviii-encuentros-estadounidenses-mexicanos-en","category-xviii-us-mexican-encounters","tag-donald-trumps-wall","tag-el-muro-de-donald-trump-en","tag-hispanics-in-cinema","tag-identity-in-cinema","tag-illegal-immigration-to-the-u-s-a","tag-martina-moeller","tag-wild-life-films"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>XVIII. 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