ABSTRACT

Nicolas Klotz and Élisabeth Perceval’s La Blessure (2004) bears witness to invisible state violence at the nation’s borders, in airport zones of exception, where asylum seekers are detained, injured, cared for and forced to return. This early visual representation of repressive care in the current border regime also cultivates forms of attention and regard for the asylum seeker’s face, voice and story. La Blessure complicates both humanitarian and documentary approaches to the undocumented. Jean-Luc Nancy’s observation that La Blessure evokes attention rather than compassion launches an examination of ‘cinematic asylum’ and frames of care in the film. Klotz and Perceval propose an undocumentarian approach to the undocumented, insofar as it is neither documentary in its genre nor humanitarian in its orientation. In its invocation of attention, the film’s forms wield political force while gesturing towards ethical and juridical reparation.

摘要

Nicolas Klotz 和 Élisabeth Perceval 的《La Blessure》（2004 年）见证了在国家边境、机场例外区的无形国家暴力，寻求庇护者被拘留、受伤、照顾和被迫返回。在当前边境政权中，这种压制性护理的早期视觉表现也培养了对寻求庇护者的脸、声音和故事的关注和尊重。La Blessure将人道主义和纪录片的方法都复杂化了对无证者的处理。让-吕克·南希（Jean-Luc Nancy）观察到La Blessure唤起了关注而不是同情，这引发了对电影中“电影庇护”和关怀框架的审视。Klotz 和 Perceval 提出了一个非纪录片对待无证者的方法，因为它既不是其类型的纪录片，也不是其方向的人道主义。在引起注意的同时，电影的形式运用了政治力量，同时指向道德和司法赔偿。