This chapter concludes that Michael Winterbottom’s cinema constitutes a notable and important form of political cinema. Reading his films politically allows viewers to attend to the tensions, contradictions, and border-crossing strategies of these films in a way that does not close down or limit their significance and affective power by fixing them within the borders they resist. This cinema of borders is best exemplified by his 2011 film, Trishna, about the violent boundaries of social class, national borders, and the relationship between past and present. Viewed as a body of work-in-progress, Winterbottom’s films and television programmes comprise an extraordinarily rich, expanding, and ever-more complex account of the horrors, atrocities, pleasures, triumphs, banalities, solitariness and companionship, and confusion and misunderstandings that characterises life in this world.
Columbia Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
If you think you should have access to this title, please contact your librarian.
To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us .