Guilherme Vilaça

This article argues that to disrupt legal education in a radical sense, students need to become acquainted with the art of worldmaking and the view that law is a “way of worldmaking”. First, I show that law is a cultural semiotic practice that requires decoding and, for that reason, demands a creative intervention by those that want to know, understand, and do things with law. Altogether this amounts to recognizing the different modes in which law creates, and is part of, worlds. Second, I propose that due to different features of their aesthetic form, comics are a particularly effective medium to place students before the myriad ways in which law and lawyers make and reproduce worlds. Third, I illustrate the argument by exploring how the Saga comic series, through its formal multimodality and narrative and cultural complexity, can make good on that challenge.

Existing theoretical literature on justice, law, and community typically treats them as ideas studying them through an analytical and rational approach. In this article, I propose to investigate these concepts through aesthetic experience as an attempt to both sharpen our imagination of such concepts and demonstrate they are inseparable. I do this by painstakingly examining the movies Shoplifters by Kore-eda and The House That Jack Built by Von Trier. Rather than focusing on thematic analysis, I claim and show that film form is crucial for aesthetic and affective experience. Furthermore, and against the conventional view, I argue that both movies articulate a spatialized vision of justice defined by its materiality. Together these aspects help us to keep (re)imagining law, justice, and community, and grasp better their worldmaking properties and powers.