During a period of heightened global concerns about the movement of immigrants and refugees across borders, Migrant Anxieties explores how filmmakers in Italy have probed the tensions accompanying the country’s shift from an emigrant nation to a destination point for over five million immigrants over the course of three decades. Áine O’Healy traces a phenomenology of anxiety that is not only present at the sociopolitical level but also interwoven into the narrative strategies of over 30 films produced since 1990, throwing into sharp relief the interface between the local and the global in this transnational era. Starting with the representation of post-communist migrations to Italy from Eastern Europe and subsequent arrivals from Africa through the controversial frontier of Lampedusa, O’Healy explores topics as diverse as the configuration of migrant labor, affective surrogacy, Italian whiteness, and the legacy of Italy’s colonial history. Showing how contemporary filmmaking practices in Italy are linked to changes in the broader media landscape, O’Healy analyzes the ways in which both Italian and migrant filmmakers are reimagining Italian society and remapping the nation’s borderscape.

Cultural Anxieties is a compelling ethnography about Centre Minkowska, a transcultural psychiatry clinic in Paris, France. From her unique position as both observer and staff member, Stéphanie Larchanché explores the challenges of providing non-stigmatizing mental healthcare to migrants, and she identifies practical routes for improving caregiving practices.

Since the late 1960s the Indonesian land of Batam has been transformed from a sleepy fishing village to a booming frontier town, where foreign investment converges with inexpensive land and labour. The book moves beyond these dichotomies to explore the experiences of migrants and tourists who pass through Batam.

With reference to South Asia.

At the beginning of World War II, the United States and Mexico launched the bracero program, a series of labor agreements that brought Mexican men to work temporarily in U.S. agricultural fields. In Braceros, Deborah Cohen asks why these migrants provoked so much concern and anxiety in the United States and what the Mexican government expected to gain in participating in the program. Cohen creatively links the often-unconnected themes of exploitation, development, the rise of consumer cultures, and gendered class and race formation to show why those with connections beyond the nation have historically provoked suspicion, anxiety, and retaliatory political policies.

Cultural Anxieties is a gripping ethnography about Centre Minkowska, a transcultural psychiatry clinic in Paris, France. From her unique position as both observer and staff member, anthropologist Stéphanie Larchanché explores the challenges of providing non-stigmatizing mental healthcare to migrants. In particular, she documents how restrictive immigration policies, limited resources, and social anxieties about the “other” combine to constrain the work of state social and health service providers who refer migrants to the clinic and who tend to frame "migrant suffering" as a problem of integration that requires cultural expertise to address. In this context, Larchanché describes how staff members at Minkowska struggle to promote cultural competence, which offers a culturally and linguistically sensitive approach to care while simultaneously addressing the broader structural factors that impact migrants’ mental health. Ultimately, Larchanché identifies practical routes for improving caregiving practices and promoting hospitality—including professional training, action research, and advocacy.

The Strange follows an unnamed, undocumented immigrant who tries to forge a new life in a Western country where he doesn’t speak the language. Jérôme Ruillier’s story is deftly told through myriad viewpoints, as each narrator recounts a situation in which they crossed paths with the newly-arrived foreigner. Many of the people he meets are suspicious of his unfamiliar background, or of the unusual language they do not understand. By employing this third-person narrative structure, Ruillier masterfully portrays the complex plight of immigrants and the vulnerability of being undocumented. The Strange shows one person’s struggle to adapt while dealing with the often brutal and unforgiving attitudes of the employers, neighbors, and strangers who populate this new land. Ruillier employs a bold visual approach of colored pencil drawings complemented by a stark, limited palette of red, orange and green backgrounds. Its beautiful simplicity represents the almost child-like hope and promise that is often associated with new beginnings. But as Ruillier implicitly suggests, it’s a promise that can shatter at a moment’s notice when the threat of being deported is a daily and terrifying reality. The Strange has been translated from the French by Helge Dascher. Dascher has been translating graphic novels from French and German to English for over twenty years. A contributor to Drawn & Quarterly since the early days, her translations include acclaimed titles such as the Aya series by Marguerite Abouet and Clément Oubrerie, Hostage by Guy Delisle, and Beautiful Darkness by Fabien Vehlmann and Kerascoët. With a background in art history and history, she also translates books and exhibitions for museums in North America and Europe. She lives in Montreal.