Carrie Tarr
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Beur filmmaking in the new millennium
From Le Raïd to Jeunesse dorée
in Reframing difference
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The first years of the new millennium provide an opportunity for assessing how beur filmmaking has developed since the flourishing of the banlieue film in 1995. This chapter focuses on the beur-authored films of 2001 and 2002, grouped into, first, potentially mainstream action films and comedies, including Le Raïd and Origine contrôlée, then period dramas exemplified by 17 rue Bleue and, finally, reworkings of the banlieue film in Wesh wesh, qu'est-ce qui se passe?, La Matîresse en maillot de bain and Jeunesse dorée. Arguably the turn of the millennium was a crucial period for competing representations of the banlieue, race relations and national identity. Djamel Bensalah's successes demonstrate that beur filmmakers can now contemplate making films which are popular at the French box office. Though these films can be criticised for drawing on dominant stereotypes of ethnic minority others, they allow ethnic minority others a measure of agency and subjectivity.

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Reframing difference

Beur and banlieue filmmaking in France


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