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This open access book analyses migration and its relation to socio-political transformation in Switzerland. It addresses how migration has made new forms of life possible and shows how this process generated gender innovation in different fields: the changing division of work, the establishment of a nursery infrastructure, access to higher education for women, and the struggle for female suffrage. Seeing society through the lens of migration alters the perspective from which our past and thus our present is told—and our future imagined.

Preliminary Material -- Einleitung -- Begriffsbestimmungen -- Zur Konstitutiven Funktion der Leere in Lockes Liberalismus -- Lockes liberale Staatstheorie und Watkins' Grenzfotografie -- Hobbes' horror vacui -- Schnabelmasken: Sanität , Souveränität , Selektion -- Bootsflüchtlinge und Bildgedächtnis -- Die Vorgeschichte des Abschiebelagers -- Illegalisierung, Identifizierung und (In-)Visibilisierung -- Ein Recht auf Migration -- Ansätze einer gestischen Geschichte -- Danksagung -- Summary -- Bildnachweise -- Index -- Bibliografie.

Instead of preventing protest, deportations on political grounds could – under certain circumstances – help to spread dissent. Accordingly, the spaces deportees were sent became fertile ground for new coalitions. Analysing such spaces furthers our understanding of how resistance may be contained, dispersed and re-constituted. The main part of this article focuses on deportations to the Pontine Islands of Ponza and Ventotene under Italian Fascism. Under such conditions, new political ideas were elaborated. The genesis of the Ventotene Manifesto will be considered as a starting point for a genealogy that opens up alternative trajectories of development for another European Union and, indeed, for today's understanding of democracy. If, today, Europe closes its borders, it destroys the idea behind such a vision of unification. Therefore, it is urgently necessary not only to recall the genesis of this manifesto, but also the authors' experience of being refugees.

Illegalized immigration is a highly iconic topic. The public perception of the current regime for mobility is profoundly shaped by visual and verbal images. As the issue of illegalized immigration is gaining increasing political momentum, the authors feel it is a well-warranted undertaking to analyze the role of images in the creation of illegalization. Their aim is to trace the visual processes that produce these very categories. The authors aim to map out an iconography of illegalized immigration in relation to political, ethical, and aesthetic discourses. They discuss the need to project ne

Illegalized immigration is a highly iconic topic. The public perception of the current regime for mobility is profoundly shaped by visual and verbal images. As the issue of illegalized immigration is gaining increasing political momentum, the authors feel it is a well-warranted undertaking to analyze the role of images in the creation of illegalization. Their aim is to trace the visual processes that produce these very categories.The authors aim to map out an iconography of illegalized immigration in relation to political, ethical, and aesthetic discourses. They discuss the need to project new images as well as the dangers of giving persons without legal papers an individual face. Illegalization is produced by law, but naturalized through the everyday use of images. The production of law, on the other hand, is also driven by both mental and materialized images. A critical iconology may help us to see these mechanisms.

The question whether the undocumented migrant can have a face in film is at first glance not a question of aesthetics. It is their social and legal condition, not aesthetics, which prevent undocumented migrants from showing their face. But the question becomes more complex if we take into account, that films are a part of the migration regime. It works like a vicious circle: The migration regime forces undocumented migrants to conceal their face. But the image of a face not only helps to identify and trace a specific person, it also helps the spectator to identify with the person's needs and feelings, to recognize a person's condition as a human being. Therefore to protect the migrant's identity at the same time can easily produce a de-humanizing discriminatory effect on the migrant that strengthens the hostile perception of and policies against undocumented migrants. From this point of view, the aesthetic question how a film shows or does not show the faces of undocumented migrants is a highly political issue and the filmmakers' ethical responsibility.
In the article we identify different strategies of visual representation of undocumented migrants in (independent) documentary films that go beyond the black-barred face that makes them appear as criminals. We consider these alternative aesthetic strategies an important contribution to antiracist and pro-immigrant struggles. Nevertheless, the line between policing and criminalizing modes of representation and more empowering and appreciating ways can be a thin one.