1. See Doris Sommer, “Irresistible Romance: The Foundational Fictions of Latin America,” in Nation and Narration, ed. Homi K. Bhabha (New York: Routledge, 1990): 71–98.
2. In my analysis of Babel, I will foreground the editing’s role in reifying a distinction between backward versus modern spaces, in a way that also metaphorically recreates the border in between the disparate geographical locations it “hops” across. For an analysis of the film’s editing in relationship to politicized subjectivity and its dependence on contingency, see Todd McGowan, “The Contingency of Connection: The Path to Politicization in Babel,” Discourse 30.3 (2008): 401–418. For Babel as an example of “disordered cinema” and “globalized puzzle,” see Marina Hassapopoulou, “Babel: Pushing and Reaffirming Mainstream Cinema’s Boundaries,” Jump Cut: A Review of Contemporary Media 50 (2008), source: ejumpcut.org, accessed April 15, 2012.
3. Katarzyna Marciniak, Anikó Imre, and Aine O’Healy, “Introduction: Mapping Transnational Feminist Media Studies,” in Transnational Feminism in Film and Media Studies, eds. Katarzyna Marciniak, et al. (New York: Palgrave Macmillan, 2007): 2.
4. Rebecca L. Stein, “Explosive: Scenes from Israel’s Gay Occupation,” GLQ: Journal of Lesbian and Gay Studies 16.4 (2010): 528–529.
5. See Judith Butler and Gayatri Spivak, Who Sings the Nation State? (New York: Seagull Books, 2007). Butler analyzes statelessness from an American context. She discusses the post-9/11 detentions in Guantanamo, the displaced of Afghanistan/Iraq wars, and the politicization of immigration rights in the United States—the title of the book refers to the latter.