Abstract
In the 2014 nonfiction film Evaporating Borders: A Story in Five Parts, filmmaker Iva Radivojević returns to the eastern Mediterranean island of Cyprus, where she grew up as a migrant following the breakup of Yugoslavia, to document the influx of asylum seekers arriving there at the outset of the Syrian civil war. For close to 50 years, Cyprus has been geographically and politically divided into a Turkish-Cypriot-controlled north (occupied by the Turkish military since 1974 and unrecognized by the international community) and a Greek-Cypriot-controlled south (the seat of the internationally recognized Republic of Cyprus). The island’s accession to the European Union in 2004 has meant that the EU’s easternmost border now lies on the unstable and contested fault line of the Cyprus divide.
This chapter argues that displacement is not just the subject of Evaporating Borders, but its formal and narrative principle, an interpretive and epistemological framework used to subvert fixed, hegemonic narratives of place and identity. Displacement’s potency as an artistic and analytical lens is evident in Radivojević’s distinct vision of Cyprus as a fundamentally multicultural space rife with contradiction and paradox, an approach that differs greatly from dominant representations of the island as a divided, bicommunal, bicultural space paradigmatic of the so-called clash of civilizations between ‘East’ and ‘West’, ‘Greeks’ and ‘Turks’, and Christians and Muslims. Refracted through the lens of the island’s refugee and migrant populations, Cyprus’ highly specific geopolitical context is shown to be a microcosm of the European Union as a whole.
One day, in early July, sixty-five migrants were caught floating in the Adriatic Sea, off the coast of Croatia. Cramped on a boat without gas, they wanted to find themselves in a country of the European Union. Soon, they found themselves in Dubrovnik, the most touristic place in Croatia. A few days later, nearby, on the Mediterranean’s waters, about fifty people die, trying to do something similar: reach Italy. Twenty-five-year-old Abbas, the only survivor, gives different stories about their trip from Tunisia. A bit further to the south, at the end of August, a boat carries four men, a woman, and two children, from Syria to the northern coast of Cyprus. No one survived, besides the smugglers who were arrested as soon as they landed safely on shore. Such incidents become known only if a fisherman finds a body floating off the coast.
—Opening voice-over text (Evaporating Borders 2014)
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Notes
- 1.
I use these terms as they have been employed in the fields of anthropology and ethnography, with an “insider” being someone privy to, and part of, a culture or a particular group and an “outsider” being someone who is not.
- 2.
Consociationalism refers to democratic systems of government and constitutional arrangements in deeply divided societies that are based on power sharing between elites from different social groups (Britannica).
- 3.
The island is also home to two British Sovereign Base Areas British (overseas British territories) that take up 3% of the island’s territory.
- 4.
This film has a convoluted production history. For more information on the film and its history, see Medak (2018).
- 5.
For Cyprus’ pre-1974 status as a filming destination and the need for more scholarship on the topic, see the 2020 lecture performance History Lesson https://youtu.be/PW1wM7-QS5k.
- 6.
- 7.
This is far from an exhaustive list.
- 8.
Recent short-form and feature-length cinema has highlighted social issues, including women’s stories (Pause, Mishiali, and Birth Days, Stylianou) as well as LGBTQI+ issues, on the island (The Hunt, Zahraei and Kaldun, Thin Green Line and The Call, Psaras).
- 9.
Note that the flag of the Republic of Cyprus is an altogether different one, so the local “national” identity of the Republic of Cyprus is almost crowded out by these two symbols of ethnic nationalism.
- 10.
The list of Cypriot or Cyprus-based films that focus on migration and/or refugeedom (other than the internal displacement of Cypriots) is short. It includes the 2021 short documentary Every Sunday by Keti Papadema, a socially engaged film about the community of Philippine domestic workers on the island, as well as the 2008 documentary “Hope Against Hopeless” by Constantinos Patsalides and George Avraam, which tracks the routes taken by refugees from Syria and Iraq to Cyprus, via Turkey, albeit with an anti-Turkish slant. If we open the category up to films about Cypriots emigration, then we can also add Elias Demetriou’s narrative feature film Fish n’ Chips (2011), about a Greek-Cypriot immigrant in London working for a Turkish-Cypriot-owned fish and chips store, on that list.
- 11.
When Radivojević was making the film, the number of refugee arrivals to Europe via the Mediterranean had not yet peaked: that was to happen a year after the film’s release, in 2015, when more than a million people crossed the sea to seek asylum in the European Union.
- 12.
This is due to a number of reasons, including the fact that Cyprus is geographically distant from continental Europe (and northern EU states in particular, which are still the most attractive countries for asylum seekers and migrants) and the government has deliberately made the asylum application conditions, including living and working opportunities, particularly onerous to “reduce the pull factor” (see Trimikliniotis 2019).
- 13.
From 7761 asylum applications in 2018 to 13,200 applications in 2019, 7036 in 2020, and 13,773 in 2021 (See Trimiklionits 2019; UNHCR).
- 14.
According to Demetriou, this happened because “areas near the border were considered insecure” after the war “and were left to wither,” which “made them cheap to rent and therefore attractive to migrant residents and businesses” (2018, 163).
- 15.
- 16.
According to the president of the International Federation of Red Cross and Red Crescent Societies, “the 27-member European Union still has different approaches to migration at its eastern border from Ukraine and its southern border on the Mediterranean” (Lederer 2022).
- 17.
The belief that native white Europeans are being replaced by nonwhite immigrants from Africa and the Middle East (Anti-Defamation League 2021). See also Corina Stan’s chapter in this section.
- 18.
The E.LA.M speaker continues: “illegal immigration has been transubstantiated into a modern-day Trojan Horse.” The irony that the Trojan Horse was a Greek contraption, the deceptive brainchild of the Greek hero Odysseus as a means to infiltrate Troy’s gates, is perhaps lost on him.
- 19.
“Experiential blindness” is a term used in neuroscience to describe the brain’s inability to perceive what it already doesn’t have a concept for. By extension, “experiential blindness” triggers the formation of newly acquired concepts and meaning-making structures (Feldman Barrett 2017, 26–30).
- 20.
An unmarked language is “the language the speaker would normally be expected to use” in a specific context (Barnes 2012).
- 21.
Use of a non-English native or other familiar language is one of the features that Naficy identifies in exiled or diasporic filmmaking: “many accented filmmakers doggedly insist on writing the dialogues in their original language—to the detriment of the film’s wider distribution” (Naficy 2001, 23).
- 22.
On the multiple definitions of transnational cinema, see Ezra and Rowden.
Bibliography
Anti-Defamation League. 2021. The Great Replacement: An Explainer, published 04.19.2021. Accessed 10 December 2022. https://www.adl.org/resources/backgrounder/great-replacement-explainer.
Barnes, Lawrie. 2012. The Role of Code-switching in the Creation of an Outsider Identity in the Bilingual Film. Communicatio 38 (3): 247–260.
Constandinides, Costas, and Yiannis Papadakis, eds. 2015. Cypriot Cinemas: Memory, Conflict, and Identity in the Margins of Europe. Topics and Issues in National Cinema. New York, Bloomsbury Academic.
Cox, Emma, Sam Durrant, David Farrier, Lyndsey Stonebridge, and Agnes Woolley, eds. 2020. Refugee Imaginaries: Research across the Humanities. Edinburgh: Edinburgh University Press.
Deeb, Bashar. 2022. Europe’s Refugee Double Standard Leaves It Vulnerable. Politico.eu, March 31. Accessed 18 May 2022. https://www.politico.eu/article/europes-refugee-double-standard-leaves-it-vulnerable/.
Demetriou, Olga. 2018. Refugeehood and the Postconflict Subject: Reconsidering Minor Losses. SUNY Press.
Feldman Barrett, Lisa. 2017. How Emotions Are Made: The Secret Life of the Brain. Boston: Mariner Books.
Freier, Luisa F., and Matthew Bird. 2020. Seeing “Race” Through a Prism: Relational Socio-racial Hierarchies and Immigration. COMPAS. Accessed 17 May 2022. https://www.compas.ox.ac.uk/2020/seeing-race-through-a-prism-relational-socio-racial-hierarchies-and-immigration/.
Freier, L.F., M.D. Bird, and S. Castillo Jara. 2020. ‘Race,’ Ethnicity, and Forced Displacement. In: The Handbook of Displacement. Cham: Palgrave Macmillan. https://doi.org/10.1007/978-3-030-47178-1_11. Accessed 17 May 2022.
Gürel, Ayla. 2012. Displacement in Cyprus: Consequences of Civil and Military Strife. Report 4. “Turkish Cypriot Legal Framework.” Oslo : Peace Research Institute Osolo.
Imre, Anko, and Eszter Zimanyi. 2016. Frames and Fragments of European Migration. Transnational Cinemas 7 (2): 118–134.
King, Gemma. 2017. Decentering France: Multilingualism and Power in Contemporary French Cinema. Manchester: Manchester University Press.
Kleanthous, Alexis. 2005. Ο Κυπριακός Κινηματογράφος [Cypriot Cinema], 1962–2005. Athens: Aigokeros.
Lederer, Edith M. 2022. Europe Accused of “double standard” on Ukrainian Refugees. Washington Post, May 17. Accessed 19 May 2022. https://www.washingtonpost.com/world/europe-accused-of-double-standard-on-ukrainian-refugees/2022/05/16/6ff4ce48-d57a-11ec-be17-286164974c54_story.html.
MacDougall, David. 1998. Subjective Voice in Ethnographic Film. In Transcultural Cinema, ed. Lucien Taylor, 93–122. Princeton: Princeton University Press.
Naficy, Hamid. 2001. An Accented Cinema: Exilic and Diasporic Filmmakers. Princeton: Princeton University Press.
Nicolaou, Argyro, and Yiannis Papadakis. 2020. Reaching Across: Migrant Support Activism on a Divided Island. In The Courage for Civil Repair: Narrating the Righteous In International Migration, ed. Carlo Tognato et al., 203–230. Cham: Palgrave Macmillan.
Papadopoulos, Theodoros, and Fotis Papastefanou. 2015. Μικρές ζωές (Small Lives). Mytilene: Enati Diastasi.
Rorty, Richard. 1989. Contingency, Irony, and Solidarity. Cambridge: Cambridge University Press.
Said, Edward. 2000. Reflections on Exile and Other Essays. Cambridge, MA: Harvard University Press.
“Statistics: Cyprus” Asylum Information Database. https://asylumineurope.org/reports/country/cyprus/statistics/. Accessed 19 May 2022.
Tekerek, Hüseyin. 2021. Nationalism and Reconciliation in Cypriot Documentary Film, 1976–1987. SAGE Open, July 16. https://doi.org/10.1177/21582440211033832.
“The Great Replacement: An Explainer”. Anti-Defamation League. https://www.adl.org/resources/backgrounders/the-great-replacement-an-explainer. Accessed 17 May 2022.
Trimikliniotis, Nikos. 2019. Cyprus as a New Refugee “Hotspot” in Europe? Challenges for a Divided Country. Nicosia, Cyprus: Friedrich-Ebert-Stiftung. Accessed 17 May 2022. https://library.fes.de/pdf-files/bueros/zypern/16001.pdf.
UNHCR. Cyprus. https://www.unhcr.org/en-us/cyprus.html. Accessed 19 May 2022.
Films & Other Media Works Cited
Chrysanthou, Panikos, and Niyazi Kizilyurek. 1993. Our Wall. Documentary.
Chrysanthou, Panikos, and Dervis Zaim. 2004. Parallel Trips (Paralel Yolculuklar). Film.
Cosmatos, George. 1970. Sin (or The Beloved).
Farrier, David. 2018. Dark Tourist series. Netflix.
Harris, Johnny. 2021. Cyprus Uncharted series.
Medak, Peter. 2018. The Ghost of Peter Sellers. Documentary.
Papadema, Keti. 2021. Every Sunday.
Patsalides, Constantinos. 2008. Hope Against Hopeless.
Preminger, Otto. 1960. Exodus. Film.
Radivojević, Iva. 2013. Evaporating Borders.
Schmölzer, Hansjürgen. 2017. Zypern—Insel zwischen zwei Kulturen.
Author information
Authors and Affiliations
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2024 The Author(s), under exclusive license to Springer Nature Switzerland AG
About this chapter
Cite this chapter
Nicolaou, A. (2024). “A strangely familiar place”: Cinematic (Re)framings of the EU’s Easternmost Border. In: Stan, C., Sussman, C. (eds) The Palgrave Handbook of European Migration in Literature and Culture . Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-031-30784-3_7
Download citation
DOI: https://doi.org/10.1007/978-3-031-30784-3_7
Published:
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-031-30783-6
Online ISBN: 978-3-031-30784-3
eBook Packages: Literature, Cultural and Media StudiesLiterature, Cultural and Media Studies (R0)