Seeking paths to existence in Rachid Djaïdani’s Rengaine
in Reimagining North African Immigration
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

Rengaine, Rachid Djaïdani's first feature-length film not only expands on 1980s and 1990s works by Maghrebi-French directors, but is quite original in the themes it tackles. Indeed, if Djaïdani's film shares 'a concern with the place and identity of the marginal and excluded in France', it innovates through its focus on minority racism and its treatment of identity construction. The original choice of telling a philosophical tale to discuss real and urgent sociocultural issues and bridge over cultural, religious, ethnic, and gender differences is a reflection of Rachid Djaïdani's personal and professional heterogeneous profile. This chapter discusses the friction of the two paths and the meaning of the 'tale' Rengaine. Djaïdani's criticism of racist and heteronormative discourse falls within the heated debate about the legalization of homosexual marriage in France.

Reimagining North African Immigration

Identities in flux in French literature, television, and film


All Time Past Year Past 30 Days
Abstract Views 61 16 0
Full Text Views 27 0 0
PDF Downloads 12 0 0