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Cover -- Contents -- 1. Introduction -- Part 1: "Borderland Schengen" -- 2. Coordinates -- 3. The Transnational Social Space of "Borderland Schengen" -- Part 2: Borderland Visualities -- 4. The Visuality and Mediality of Documentary Film -- 5. Representational and Performative Practices -- 6. Attempts of Visibility and Recognition -- 7. Transnational Social Spaces - Transitional Social Spaces -- 8. Conclusion: Borderland Counter-Topographies -- Filmography -- Bibliography

This article develops the concept of brokerage to analyse the systems of borderland governance that have underpinned processes of state formation and capitalist development in the conflict-affected Myanmar-China borderland region of northern Shan State since the late 1980s. It focuses on the brokerage arrangements that have developed between the Myanmar Army and local militias, and how the illegal drug trade has become integral to these systems of brokered rule. This article draws particular attention to the inherent tensions and contradictions surrounding brokerage. In the short term, deploying militias as borderland brokers has provided an expedient mechanism through which the Myanmar Army has sought to extend and embed state authority, and has also provided the stability and coercive muscle needed to attract capital, expand trade, and intensify resource extraction. However, at the same time, militias have sought to use their position as brokers to aggrandise their own power and counter the extension of central state control. In the longer term, brokerage arrangements have thus had the effect of reinvigorating systems of strongman borderland governance, further fragmenting the means of violence and the proliferation of drugs and disempowering non-militarised forms of political negotiation. (J Contemp China / GIGA)

This article develops the concept of brokerage to analyse the systems of borderland governance that have underpinned processes of state formation and capitalist development in the conflict-affected Myanmar-China borderland region of northern Shan State since the late 1980s. It focuses on the brokerage arrangements that have developed between the Myanmar Army and local militias, and how the illegal drug trade has become integral to these systems of brokered rule. This article draws particular attention to the inherent tensions and contradictions surrounding brokerage. In the short term, deploying militias as borderland brokers has provided an expedient mechanism through which the Myanmar Army has sought to extend and embed state authority, and has also provided the stability and coercive muscle needed to attract capital, expand trade, and intensify resource extraction. However, at the same time, militias have sought to use their position as brokers to aggrandise their own power and counter the extension of central state control. In the longer term, brokerage arrangements have thus had the effect of reinvigorating systems of strongman borderland governance, further fragmenting the means of violence and the proliferation of drugs and disempowering non-militarised forms of political negotiation.

Analysing recent documentary films dealing with undocumented migration at the Schengen Area's fringes and against the backdrop of what has been termed the `European refugee crisis', Jan Kühnemund investigates the interface between migration discourses and image discourses. As an analytical framework, he conceptualises `Borderland Schengen' as a visual-political transnational space emerging from the interplay of migration movements and border policies. Putting the spaces and iconologies of `illegal' migration under scrutiny and aiming at establishing their protagonists as subjects, Kühnemund in this regard reads the films as attempts at discursive participation as an aesthetic political practice.

Analysing recent documentary films dealing with undocumented migration at the Schengen Area's fringes and against the backdrop of what has been termed the `European refugee crisis', Jan Kühnemund investigates the interface between migration discourses and image discourses. As an analytical framework, he conceptualises `Borderland Schengen' as a visual-political transnational space emerging from the interplay of migration movements and border policies. Putting the spaces and iconologies of `illegal' migration under scrutiny and aiming at establishing their protagonists as subjects, Kühnemund in this regard reads the films as attempts at discursive participation as an aesthetic political practice.