Abstract
This article analyses the emotional appeals of Babel (Gonzlez Irruti 2006), a French-US-Mexican co-production about an accident that touches the lives of four families in Morocco, the United States, Mexico and Japan. In its discussion of how the Mexican film-makers infuse an English-language film with the sensibilities of the Mexican melodrama, the essay problematizes recent scholarship on the politics of compassion as well as theoretical propositions about Third World films' singular ability to cognitively map contemporary global relations.
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