Reframing Difference: Beur and Banlieue Filmmaking in France
'Reframing difference' is the first major study of two overlapping strands of contemporary French cinema, 'cinéma beur' (films by young directors of Maghrebi descent) and 'cinéma de banlieue' (films set in France's disadvantaged outer-city housing estates). These films mobilise the voices and narratives of France's most stigmatised postcolonial others to address issues of ethnicity and difference which are central to today's debates about what it means to be French. Carrie Tarr's insightful account of the development of 'beur' and 'banlieue' filmmaking - from the 1980s to the present and from the margins to the mainstream - draws on a wide range of films, including Mehdi Charef's 'Le Thé au harem d'Archimède' (Tea in the Harem), Mathieu Kassowitz's 'La Haine' (Hate) and Djamel Bensalah's hit comedy, 'Le ciel, les oiseaux... et ta mère' (Boys on the Beach). Her analyses compare the work of male and female, majority and minority filmmakers at particular junctures, and emphasise the significance of authorship in the representation of gender and ethnicity. Foregrounding such issues as the quest for identity, the negotiation of space and the recourse to memory and history, she argues that films by directors of Maghrebi descent challenge and reframe the symbolic spaces of French culture. This timely book is essential reading for all those interested in the relationship between cinema and citizenship in a multicultural society.
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Questions of identity in beur cinema from Le Thé au harem dArchimède to Cheb
Beurz in the hood Le Thé au harem dArchimède and Hexagone
Ethnicity and identity in Mathieu Kassovitzs Métisse and La Haine
Beur and banlieue cinema in 1995
Beur women in the banlieue Les Histoires damour finissent mal en général and Souvienstoi de moi
Masculinity and exclusion in post1995 beur and banlieue films
Grrrls in the banlieue Samia and La Squale
Memories of immigration Sous les pieds des femmes and Vivre au paradis
Beurs in the provinces from LHonneur de ma famille to Drôle de Félix
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actors Algerian Arabic audience banlieue films banlieue youths beur and banlieue beur cinema beur filmmakers beur films beur women beurette bidonville Bouchareb Bye-Bye centre characters Charef Cheb Chibane comedy Comme un aimant construction demonstrate diegesis Douce France Dridi ethnic difference father Felix female film's filmmakers of Maghrebi foregrounds France's French cinema French society Front National gender Haine harem d'Archimede Hexagone images integration Islamic Karim Karim Dridi Kassovitz Krim La Haine Madjid Maghrebi descent Maghrebi origin mainstream male Malik marginalised Marie-Line masculinity Mathieu Kassovitz Mehdi Mehdi Charef Metisse mixed-race mother multi-ethnic narrative Noemie Nora parents Paris pied noir played police political problematic protagonists Rachid Rachid Bouchareb racism relationship representation Reproduced with permission role Ronald Grant Roschdy Zem Sami Bouajila Samia sans-papiers scene sequence sexual shot social solidarity Sous les pieds Souviens-toi de moi spaces spectator Squale violence Vivre au paradis Wesh white French woman working-class young beur
Page 10 - ... practices and representations even after the formal end of colonialism. Although colonialist discourse and Eurocentric discourse are intimately intertwined, the terms have a distinct emphasis. While the former explicitly justifies colonialist practices, the latter embeds, takes for granted, and "normalizes" the hierarchical power relations generated by colonialism and imperialism, without necessarily even thematizing those issues directly.