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© 2018 Informa UK Limited, trading as Taylor & Francis Group. This introduction examines the meaning of foreignness, drawing on Jacques Derrida's discussion of 'the aporia' to propose that foreignness is critically aporetic - undecidable and unstable. At a moment when racist political rhetoric is being normalized and xenophobic political movements are on the rise, thinking about 'aporias of foreignness' allows us to reflect upon questions of belonging and hospitality, and the complexity and historical contingency of the relationship between self and other, indigenous citizen and immigrant, asylum-seeker or refugee. The introductory chapter proposes that cinema is a crucial medium through which to rethink foreignness since cinema always involves a potentially disorienting encounter with the unfamiliar, an encounter that is at the centre of the work of artist Ai Weiwei in film and other media.

The last decade has witnessed a global explosion of immigrant protests, political mobilizations by irregular migrants and pro-migrant activists. This volume considers the implications of these struggles for critical understandings of citizenship and borders. Scholars, visual and performance artists, and activists explore the ways in which political activism, art, and popular culture can work to challenge the multiple forms of discrimination and injustice faced by "illegal" and displaced peoples. They focus on a wide range of topics, including desire and neo-colonial violence in film, visibility and representation, pedagogical function of protest, and the role of the arts and artists in the explosion of political protests that challenge the precarious nature of migrant life in the Global North. They also examine shifting practices of boundary making and boundary taking, changing meanings and lived experiences of citizenship, arguing for a noborder politics enacted through a "noborder scholarship. " ; Open Access version supported by Knowledge Unlatched. ; VoR ; SUNY Press ; N/A

This article opens with reflections upon the authors' formative encounters with world cinema in Poland and the UK, and the importance of television in providing access to a wide variety of 'foreign' films. We propose that the process of viewing transnational films exemplifies this encounter with foreignness and that the value of studying transnational films is that their thematic focus upon encounters invites us to reflect upon questions of translation and misrecognition, difference and sameness. Through a close analysis of Cold War (Pawlikowski, 2017), the article discusses the way in which this film explores questions of cultural politics and national identity, migrant experience and exile, and the transnational circulation of texts. We argue that the film, which follows the experiences of a couple who move back and forth across the 'iron curtain' in post-WW2 Europe, offers a critique of nationalist ideologies and invites us to recognise 'foreignness' as a constitutive component of local and national cultures. Cold War, we suggest, is an exemplary transnational film in so far as it prompts us to recognise how even familiar cultures are repeatedly transected by difference.

This introduction examines the meaning of foreignness, drawing on Jacques Derrida's discussion of 'the aporia' to propose that foreignness is critically aporetic - undecidable and unstable. At a moment when racist political rhetoric is being normalized and xenophobic political movements are on the rise, thinking about 'aporias of foreignness' allows us to reflect upon questions of belonging and hospitality, and the complexity and historical contingency of the relationship between self and other, indigenous citizen and immigrant, asylum-seeker or refugee. The introductory chapter proposes that cinema is a crucial medium through which to rethink foreignness since cinema always involves a potentially disorienting encounter with the unfamiliar, an encounter that is at the centre of the work of artist Ai Weiwei in film and other media.

This text has been prepared within the project Our Mythical Childhood. The Reception of Classical Antiquity in Children's and Young Adults' Culture in Response to Regional and Global Challenges, which has received funding from the European Research Council (ERC) under the European Union's Horizon 2020 Research and Innovation Programme under grant agreement No 681202, ERC Consolidator Grant (2016-2021), led by Katarzyna Marciniak, Faculty of "Artes Liberales", the University of Warsaw. Medusa ist eine der bekanntesten Figuren der Mythologie, ein Monster par excellence. Die antike Literatur überliefert zwei Versionen ihrer Geschichte – ein Urzeitwesen aus vorolympischen Zeiten (Hesiod, Theogonie 270-285) und eine junge Frau, die in Athenes Tempel von Poseidon vergewaltigt und von der Göttin, die den Vorfall als unsagbares Sakrileg (miss)deutete, in ein schreckliches Ungeheuer verwandelt wurde (Ovid, Metamorphosen 4,753-803). Im Lauf der Jahrtausende klassischer Rezeption trat Medusa hauptsächlich als mörderisches Ungeheuer in Erscheinung, das ein Held auf seinem "Campbellischen" Weg zum Ruhm besiegen muss (Campbell 2004). Dann konzentrierte sich Hélène Cixous auf ihre Stimme als Opfer – mit einem speziellen Fokus auf ihrer Weiblichkeit – und machte Medusa zu einer Ikone für Generationen von Frauen, die unschuldig und aufgrund einer Reihe sozialer Faktoren Leid erfuhren (Cixous 1976).Greift ein ähnlicher Perspektivenwechsel auch in der kulturellen Aneignung für ein junges Publikum? Erscheint Medusa vor diesem kulturellen Hintergrund einfach als Ungeheuer oder doch eher als Opfer? Oder spielt sie sogar noch mehr Rollen? Wir unternehmen den Versuch, Antworten auf diese Fragen zu finden, indem wir die Analyse von Medusas Rezeption in zwei Filmen – Clash of the Titans im Original (1981) und seinem Remake (2010) – als Ausgangspunkt nehmen. Diese Analyse enthüllt charakteristische Züge eines Bildes, das in den 1980er-Jahren geschaffen wurde, einer für die Entwicklung der Populärkultur besonders wichtigen Epoche, und vergleicht und kontrastiert sie mit der Repräsentation, die die Realität des 21. Jh. transformiert hat. Die Untersuchung des Medusa-Charakters in den beiden Clashes-Filmen ist durchzogen von einem Überblick über die wichtigsten antiken Quellen und das zeitgenössische Narrativ durch Wissenschaftler*innen und Autor*innen, deren Ziel die Popularisierung der klassischen Antike ist.Weiters stellen wir eine kurze Übersicht ausgewählter, zumeist weltweit zugänglicher Werke vor. Jedes einzelne ist einem bestimmten Abschnitt in Medusas Leben gewidmet. Als erstes treffen wir ein Kind, das seine ersten Schritte in die Welt macht (im Bilderbuch Brush Your Hair, Medusa! von Joan Holub und Leslie Patricelli). Dann stehen wir einer Teenagerin gegenüber, die die Bedeutung wahrer Akzeptanz entdeckt (The Goddess Girls-Serie von Joan Holub und Suzanne Williams). In einem dritten Teil folgen wir einem heranwachsenden Mädchen (und ebenso einem Burschen), die ihre Identität entwickeln (in den TV-Serien Monster High und Legacies – einem Spin-off von The Vampire Diaries). Später sehen wir eine erwachsene Frau, die für ihr Recht auf Glück kämpft (BBC TV-Serie Atlantis). Danach beobachten wir eine ältere Frau, zerrissen zwischen Liebe und Hass (Rick Riordans Percy Jackson). Und schließlich begegnen wir einer Mutter, die ihre Rolle in der Gesellschaft findet (im Bilderbuch Mère Méduse von Kitty Crowther).Dieser aus literarischen und audiovisuellen Elementen zusammengestellte Lebenslauf der Medusa erlaubt uns einen neuen Blick auf die mythologische Figur. Versteinert sie immer noch mit ihrem Blick als Ungeheuer, ist sie ein Opfer, oder kann sie überhaupt eine Leitfigur für moderne Kinder und Jugendliche werden, um sich selbst besser kennenzulernen und gegenüber Anderen größere Empathie zu entwickeln? ; This text has been prepared within the project Our Mythical Childhood. The Reception of Classical Antiquity in Children's and Young Adults' Culture in Response to Regional and Global Challenges, which has received funding from the European Research Council (ERC) under the European Union's Horizon 2020 Research and Innovation Programme under grant agreement No 681202, ERC Consolidator Grant (2016-2021), led by Katarzyna Marciniak, Faculty of "Artes Liberales", the University of Warsaw. Medusa is one of the best known mythical creatures, a monster par excellence. Ancient literature transmits two versions of her story – a primordial being from pre-Olympian times (Hesiod, Theogony 270-285) and a young woman who was raped by Poseidon in Athena's temple and punished by being transformed into a hideous beast for what the goddess presumed was a dreadful sacrilege (Ovid, Metamorphoses 4,753-803). Down through the millennia of classical reception, Medusa appeared mainly as a killing monster to be defeated by the hero on his "Campbellian" journey to glory (Campbell 2004). Then Hélène Cixous listened to her voice as that of a victim – with a particular focus on her womanhood – and made Medusa an icon for generations of women who suffered innocently due to a range of societal factors (Cixous 1976).Is a similar reversal of perspective also valid in the culture for a young audience? Does this culture feature Medusa simply as a monster, or rather as a victim? Or perhaps there are more roles for her still? We have attempted to answer these questions by taking as our starting point an analysis of Medusa's reception in two movies – namely, Clash of the Titans, the original from 1981 and the remake from 2010. This analysis reveals characteristic traits of her image as encoded in the 1980s, a period of particular importance for the development of popular culture, and compares them with the representation transformed into a believable 21st-century protagonist and following the demands of a 21st-century audience. The study of the Medusa characters in the two Clashes is interspersed with an overview of the most relevant ancient sources and the contemporary narrative both by scholars and popularizers of Classical Antiquity.Then, we propose a short survey of selected, mostly globally accessible works. Each is dedicated to a specific stage of Medusa's life. First, we meet a child taking her first steps in the world (the picture book Brush Your Hair, Medusa! by Joan Holub and Leslie Patricelli). Second, we face a teen who discovers the meaning of true acceptance (The Goddess Girls series by Joan Holub and Suzanne Williams). Third, we follow a maturing girl (and boy) building her (his) identity (the TV series Monster High and Legacies – a spin-off of The Vampire Diaries). Subsequently, we see a grown-up woman who fights for her right to happiness (BBC TV series Atlantis). Next, we observe an elderly lady torn between love and hate (Percy Jackson by Rick Riordan). And finally, we encounter a mother who learns her role in society (the picture book Mère Méduse by Kitty Crowther).This composite, literary-audio-visual curriculum vitae of Medusa permits us to risk casting a new look at this mythical creature. Does she still petrify with the gaze of a monster, or is she a victim? Or, above all, is she able to become a guide for contemporary children and young adults to better awareness of themselves and greater empathy towards the Other?