ABSTRACT

The article analyses a case of prosecution for human smuggling. Three film crew members accompanied a Syrian refugee boy from Greece to Sweden, while recording the journey in a documentary that was screened on Swedish public television in 2015. Despite widespread recognition, they were prosecuted and found guilty of human smuggling by all the levels of the Swedish judiciary. Using a variety of materials – text and visual data, observations and interviews – we follow the case as it moves across different arenas: the media, the court and in activism. The analysis is inspired by and further develops de Genova’s notion of the border as spectacle. What conditions for acting and speaking structure the arenas, and how and from which positions can the border spectacle be contested? The motion across these arenas offers an opportunity to disclose the operation of the borders as a regime that controls people’s mobility and solidarity in unequal ways.

摘要

文章分析了一起以走私罪起诉的案件。三名摄制组成员陪同一名叙利亚难民男孩从希腊前往瑞典，同时在一部纪录片中记录了这段旅程，该纪录片于 2015 年在瑞典公共电视台播放。尽管得到了广泛认可，但他们仍被各级政府起诉并被判犯有走私人口罪。瑞典司法机构。使用各种材料——文本和视觉数据、观察和采访——我们跟踪案件在不同领域的传播：媒体、法庭和激进主义。该分析受到 de Genova 将边界视为奇观的概念的启发并进一步发展。表演和演讲的条件是什么构成了竞技场，以及如何以及从哪些位置可以争夺边境奇观？跨越这些领域的动议提供了一个机会，可以揭示边界作为一种以不平等方式控制人们流动和团结的制度的运作。