| 要約: | In affirming the figure of the refugee, Theo Angelopoulos’s 1991 film The Suspended Step of the Stork radically repositions the latter from its normative casting as another human being worth saving precisely because of sharing a basic likeness to oneself, to a fundamental an-other who is also a prophetic instance of a people to come. The current article argues that the film proceeds to accomplish this remarkable shift by making sovereignty itself an object of abandonment, something which turns Giorgio Agamben’s thesis regarding bare life on its head, opening the horizon up for new adventures in thought and politics. The cinematic novelty and significance of the image of the refugee furnished in Angelopoulos’s film displays deep affinities with and unacknowledged connections to the work of Giles Deleuze and Félix Guattari in so far as it announces becoming as paramount: by offering an audiovisual elaboration of becoming-other, becoming-minoritarian, becoming-imperceptible as a pertinent response to the micro- and macro-fascisms the exclusive nature of the configuration of the political in terms of belonging (or not) to a nation state sets up, the film foregrounds the othering of the self as foundational in the pursuit of a future otherwise.
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