Carrie Tarr
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Beur and banlieue cinema in 1995
in Reframing difference
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This chapter examines the different representations of ethnicity and identity in the six banlieue films of 1995, and establishes a comparison between the three white-authored films, La Haine, Etat des lieux and Raï, and the three films by filmmakers of Maghrebi descent, Bye-Bye, Krim and Douce France. It takes into account the narrative function and degree of subjectivity accorded to the characters of Maghrebi descent, the representation of the banlieue as a site of violence, the values ascribed to the culture of the parents' generation, and the construction of gender and sexuality. In La Haine and Etat des lieux, there is no representation of the family backgrounds or living spaces of the beur youths. Bye-Bye, Krim and Douce France address the situation of ethnic minorities in France through narratives which move beyond the semi-autobiographical bases of films such as Le Thé au harem d'Archimède and Hexagone.

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Reframing difference

Beur and banlieue filmmaking in France

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