Future perfect
An imaginative ethnography of Mediterranean illegalised migration
by Alexandra D'Onofrio
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Albania, Algeria, Angola, Argentina, Armenia, Australia, Austria, Bahrain, Belgium, Belize, Benin, Bolivia, Bosnia and Herzegovina, Botswana, Brazil, Bulgaria, Burkina Faso, Burundi, Cameroon, Canada, Cape Verde, Central African Republic, Chad, Chile, China, Colombia, Comoros, Congo [DRC], Congo, Republic of the, Costa Rica, Ivory Coast, Croatia, Czech Republic, Denmark, Djibouti, Ecuador, Egypt, El Salvador, Equatorial Guinea, Eritrea, Estonia, Ethiopia, Faroe Islands, Finland, France, French Guiana, Gabon, Gambia, Georgia, Germany, Ghana, Greece, Guatemala, Guinea, Guinea-Bissau, Guyana, Honduras, Hongkong, Hungary, Iceland, India, Indonesia, Iran, Iraq, Ireland, Israel, Italy, Japan, Jordan, Kazakhstan, Kenya, Kuwait, Latvia, Lebanon, Lesotho, Liberia, Libya, Lithuania, Luxembourg, Macau, China, Macedonia [FYROM], Madagascar, Malawi, Malaysia, Mali, Malta, Mauritania, Mauritius, Mayotte, Mexico, Mongolia, Montenegro, Morocco, Mozambique, Namibia, Netherlands, New Zealand, Nicaragua, Niger, Nigeria, Norway, Oman, Pakistan, Panama, Paraguay, Peru, Philippines, Poland, Portugal, Puerto Rico, Qatar, Reunion, Romania, Russia, Rwanda, Saint Helena, Sao Tome and Principe, Saudi Arabia, Senegal, Serbia, Seychelles, Sierra Leone, Singapore, Slovakia, Slovenia, Somalia, South Africa, South Korea, Spain, Sri Lanka, Sudan, Suriname, Swaziland, Sweden, Switzerland, Syria, Taiwan, Tanzania, Thailand, Timor-Leste, Togo, Tokelau, Tunisia, Turkey, Uganda, Ukraine, United Arab Emirates, United Kingdom, United States, Uruguay, Venezuela, Vietnam, Western Sahara, Yemen, Zambia, Zimbabwe, South Sudan, Cyprus, Palestine, Bangladesh, Cambodia, Liechtenstein, Azerbaijan, Jamaica, Kyrgyzstan, Dominican Republic, Myanmar, Monaco
Endorsements
Future Perfect provides a unique co-creative exploration on the imaginative lifeworlds of people illegally crossing the Mediterranean sea. By recognising the crucial role that imagination plays in the lives of people moving across borders, it makes a case for collaborative storytelling as an ethnographic practice capable of setting the context for an existential redefinition of experienced reality through its multiple imagined possibilities. This volume and its accompanying film, It was tomorrow, are a timely contribution to the public and academic discussion of migration, which has become such a topical theme in the media, creating a highly political and visual 'migrant subject'. Future Perfect is a distinctive example of how collaborative creative and interventionist practices become ethical, political and aesthetic methods for an ethnography that goes beyond the observation and representation of reality as it is, to follow the way people think and remake their worlds conjuring alternatives of life as it could-would-may be or could-would-may have been. In attempting to capture life as lived in its subjunctive form this ethnography also explores new possibilities for an anthropology that is creative and responsive to the ambiguities, ambivalences, silences present in people's stories and that often go unrecognised in public depictions of the phenomenon. The book renders anthropological questions regarding people's inner and imaginative lifeworlds as mediators of crisis, relevant to a broader audience, through performance and participatory media practices creating connections between research participants, readers and audiences.
Reviews
Future Perfect provides a unique co-creative exploration on the imaginative lifeworlds of people illegally crossing the Mediterranean sea. By recognising the crucial role that imagination plays in the lives of people moving across borders, it makes a case for collaborative storytelling as an ethnographic practice capable of setting the context for an existential redefinition of experienced reality through its multiple imagined possibilities. This volume and its accompanying film, It was tomorrow, are a timely contribution to the public and academic discussion of migration, which has become such a topical theme in the media, creating a highly political and visual 'migrant subject'. Future Perfect is a distinctive example of how collaborative creative and interventionist practices become ethical, political and aesthetic methods for an ethnography that goes beyond the observation and representation of reality as it is, to follow the way people think and remake their worlds conjuring alternatives of life as it could-would-may be or could-would-may have been. In attempting to capture life as lived in its subjunctive form this ethnography also explores new possibilities for an anthropology that is creative and responsive to the ambiguities, ambivalences, silences present in people's stories and that often go unrecognised in public depictions of the phenomenon. The book renders anthropological questions regarding people's inner and imaginative lifeworlds as mediators of crisis, relevant to a broader audience, through performance and participatory media practices creating connections between research participants, readers and audiences.
Author Biography
Alexandra D'Onofrio is a member of the Granada Centre for Visual Anthropology and a Lecturer in Social and Visual Anthropology at the University of Manchester
Manchester University Press
Manchester University Press is a leading UK publisher known for excellent research in the humanities and social sciences.
View all titlesBibliographic Information
- Publisher Manchester University Press
- Publication Date February 2026
- Orginal LanguageEnglish
- ISBN/Identifier 9781526151841 / 1526151847
- Publication Country or regionUnited Kingdom
- FormatPrint PDF
- Pages248
- ReadershipCollege/higher education; Professional and scholarly
- Publish StatusPublished
- Dimensions234 X 156 mm
- Biblio NotesDerived from Proprietary 5191
- SeriesAnthropology, Creative Practice and Ethnography
- Reference Code13030
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