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Identification, imitation and critical mortification
David Platten

later by the then Minister of the Interior, Nicolas Sarkozy, to vilify rioting youth in the suburbs of Paris – the residents of District 13 are expendable. Notwithstanding this modicum of political comment, it would be a mistake to align Banlieue 13 with other films depicting urban crisis in France such as La Haine (Hate, Mathieu Kassovitz, 1995), Le Thé au Harem d’Archi Ahmed (Tea in the Harem, Mehdi Charef, 1985) or L.627 (Bertrand Tavernier, 1992). Rather it asks to be viewed differently, as a cinematic spectacle foregrounding a new form of cultural expression. ‘Le

in Imagining the popular in contemporary French culture
Sarah Cooper

aimed at bearing witness to experiences that would otherwise vanish without a trace. François Périer provides the general voice-over for the film. Mathieu Kassovitz lends his voice to the French translation of interviews with the Bosnian men and Catherine Belkhodja does likewise for the women. Interspersed throughout are interviews with Théo Robichet (credited frequently as part of the earlier SLON team) who comments

in Chris Marker
James S. Williams

I Know about Her (1966) (shot in the vast new complexes of La Courneuve), have been forced to cope with poor housing conditions, a faltering education system, reduced chances of vocational training and high rates of unemployment. As Adrian Fielder puts it well in his study of emblematic banlieue films such as Mathieu Kassovitz’s La Haine/Hate (1995), shot in Chanteloup-les-Vignes, ‘[t]his “anti-Paris” is depicted not as some liberating ontological essence in Williams, Space and being in contemporary French cinema.indd 25 11/01/2013 15:18:31 26 Space and being

in Space and being in contemporary French cinema
Abdellatif Kechiche and the politics of reappropriation and renewal
James S. Williams

(Bloom 2006: 140). Adrian Fielder argues in Deleuzian terms that banlieue films like Mathieu Kassovitz’s La Haine/ Hate (1995) appear to be ‘advocating a (tactical) performative mode of inhabiting the city, through which emergent urban subcultures might attempt – even within the most striated of state-regulated spaces – to constitute an urban body nomadism’ (Fielder 2001: 280). Like La Faute à Voltaire, L’Esquive takes further this process of reinventing social space by making it directly textual and part of the mainstream itself by combining popular and ‘high’ culture

in Space and being in contemporary French cinema
Guy Austin

resistance fighter. He took from anyone who would give, and he behaved throughout this period of his career like a calculating man on the make’ (Rousso 1991 : 181). In Un héros Dehousse (Mathieu Kassovitz) experiences moments of drama, comedy and excruciating embarrassment during his rise from obscurity to the status of Resistance hero. Where doubt was cast in some minds as to the ideological purity of those who joined the

in Contemporary French cinema
Engaging with ethnicity
Joseph McGonagle

screen, and usually not heard speaking, is recalled by an unusual 8-second scene as Amélie returns from her father’s via the Gare du Nord with his stolen garden gnome and hurriedly walks down the platform as three young men – who appear to be of black or mixed race heritage – follow her. This multi-ethnic trio, coupled with Jeunet’s casting of Mathieu Kassovitz as Nino, might obliquely recall scenes from La Haine (1995), which Kassovitz himself directed. As Ezra (2008: 87) notes, however, La Haine is ‘the antithesis of Amélie in its unrelenting depiction of a Paris

in Representing ethnicity in contemporary French visual culture