Abstract
What do three films by the Greek art film director Theo Angelopoulos have to do with questions of cosmopolitanism? And why is a political theorist like myself interested in Angelopoulos’ films? The short answer is that Angelopoulos’ three films from the 1990s, also referred to as the ‘Balkan Trilogy’ — The Suspended Step of the Stork (1991), Ulysses’ Gaze (1995) and Eternity and a Day (1998) — are interventions in the debate on immigration, asylum and borders in today’s Europe (Horton 1997a, 71).1
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References
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Thomassen, L. (2007). Towards a Cosmopolitics of Heterogeneity: Borders, Communities and Refugees in Angelopoulos’ Balkan Trilogy. In: Morgan, D., Banham, G. (eds) Cosmopolitics and the Emergence of a Future. Palgrave Macmillan, London. https://doi.org/10.1057/9780230210684_10
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