The Wizard of Oz brought many now-iconic tropes into popular culture: the yellow brick road, ruby slippers and Oz. But this book begins with Dorothy and her legacy as an archetypal touchstone in cinema for the child journeying far from home. In There's No Place Like Home, distinguished film scholar Stephanie Hemelryk Donald offers a fresh interpretation of the migrant child as a recurring figure in world cinema. Displaced or placeless children, and the idea of childhood itself, are vehicles to examine migration and cosmopolitanism in films such as Le Ballon Rouge, Sammy Going South and Le Havre. Surveying fictional and documentary film from the post-war years until today, the author shows how the child is a guide to themes of place, self and being in world cinema.
About the Author
Stephanie Hemelryk Donald is incoming Distinguished Professor of Film at the University of Lincoln and visiting Distinguished Professor at the iCinema Centre for Interactive Cinema Research at the University of New South Wales. Her research covers film, the media, childhood, migration and Chinese visual culture. She is co-editor of Inert Cities: Globalization, Mobility and Suspension in Visual Culture (I.B.Tauris, 2014), among other publications.
Table of Contents
List of Figures ix
1 The Dorothy Complex 17
2 The Red Balloon and Squirt's Journey: story-telling with child migrants 43
3 Once My Mother, Welcome and he Havre: breath and the child cosmopolitan 71
4 Little Moth and The Road: precarity, immobility and inertia 95
5 Landscape in the Mist 121
6 The Leaving of Liverpool: Empire and religion, poetry and the archive 141
7 Diamonds of the Night 173
Afterword: where have all the children gone? 195