Entre Lineas | Between Lines: Mobility, Temporality, and Performance at a Mexico-U.S. Border Checkpoint Público
Vizcarra, Mael (2017)
Abstract
This dissertation rethinks the notion of border by exploring how mobility, temporality and performance happen in the border checkpoint of 'la Línea' in Tijuana, Mexico. Using a phenomenological filmic approach, I examine the contrasting movements, temporal rhythms, and performances of two groups: 1) vendors, whose free movements around the border emphasize spatial preoccupations, and 2) border crossers, whose limited mobility highlights the importance of time. For border crossers, the checkpoint represents a liminal space of waiting as they stand in long lines to cross the border. For vendors, the site is a destination where many have worked for generations. While crossers are mobile in the sense of their daily movement across borders, they remain relatively immobile in this site as they wait in line. Vendors do not generally cross the border and are perceived to be permanent fixtures, yet they are hyper mobile when compared to crossers, spending much of their time walking around. Examining border crossers' and vendors' contrasting experiences of movement and time in the space of the Línea reveals important information about the nature of borders, and prompts us to question our understanding of the relationship between privilege and mobility. La Línea can also be understood as a theatrical space for spectacle, everyday ritual, and various other performances. The large mass of people engaged in daily commuting represent a spectacular display in itself. The site is both visually imposing and provides a large captive audience of viewers, which has led to the site's use as a performance stage by local artists. Moreover, the line between performer and audience here is blurred as vendors, crossers, and CBP agents simultaneously perform for, observe, and surveil one another. Like movement and time, these different performance elements become 'mixed up' in this site, creating various lines beyond the geopolitical border. I propose the concept of revolver (to mix, to stir) to think through the shifting dynamics of mobility, temporality, and performance taking place between these lines.
Table of Contents
Contents
Introduction 1
Chapter 2 | Setting the Scene 89
Chapter 3 | Todo lo que uno hace (video) 122
Chapter 4 | Walking: Vendors, Mobility, and the Space of the Border 123
Chapter 5 | Crossing with Evelyn (video) 161
Chapter 6 | Waiting: Crossers, Temporality, and the Rhythms of the Border 162
Chapter 7 | Performing: Visuality, Spectacle, Ritual and la Línea as Theater 222
Conclusion 282
References 290
Appendices
Appendix A | A Song by Damian Fry 313
Appendix B | Lul ú 's Story 314
Appendix C | Evelyn's Story 316
About this Dissertation
| School | |
|---|---|
| Department | |
| Degree | |
| Submission | |
| Language |
|
| Research Field | |
| Palabra Clave | |
| Committee Chair / Thesis Advisor | |
| Committee Members |
Primary PDF
| Thumbnail | Title | Date Uploaded | Actions |
|---|---|---|---|
|
|
Entre Lineas | Between Lines: Mobility, Temporality, and Performance at a Mexico-U.S. Border Checkpoint () | 2018-08-28 16:19:55 -0400 |
|
Supplemental Files
| Thumbnail | Title | Date Uploaded | Actions |
|---|---|---|---|
|
|
SD540p-Todo lo que uno hace.mp4 () | 2018-08-28 16:20:28 -0400 |
|
|
|
Chapter 5 - Crossing with Evelyn.mov () | 2018-08-28 16:20:35 -0400 |
|
|
|
Damian Fry - _La Linea_.mov () | 2018-08-28 16:20:45 -0400 |
|