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Representing people of Algerian heritage
Joseph McGonagle

Representing people of ­Algerian heritage 2 Shaping spaces: representing people of ­Algerian heritage French colonial and postcolonial relations with the countries of the Maghreb have been long and troubled. Post-1945, significant numbers of Moroccans, Tunisians and Algerians migrated to France and eventually settled there definitively: they and their families now constitute a significant proportion of France’s ethnic minority population. Aside from being numerically the greatest, arguably the symbolically most important and prominent component of this

in Representing ethnicity in contemporary French visual culture

The issue of ethnicity in France, and how ethnicities are represented there visually, remains one of the most important and polemical aspects of French post-colonial politics and society. This is the first book to analyse how a range of different ethnicities have been represented across contemporary French visual culture. Via a wide series of case studies – from the worldwide hit film Amélie to France’s popular TV series Plus belle la vie – it probes how ethnicities have been represented across different media, including film, photography, television and the visual arts. Four chapters examine distinct areas of particular importance: national identity, people of Algerian heritage, Jewishness and France’s second city Marseille.

Der Blaue Reiter and its legacies
Author: Dorothy Price

This book presents new research on the histories and legacies of the German Expressionist group, Der Blaue Reiter, the founding force behind modernist abstraction. For the first time Der Blaue Reiter is subjected to a variety of novel inter-disciplinary perspectives, ranging from a philosophical enquiry into its language and visual perception, to analyses of its gender dynamics, its reception at different historical junctures throughout the twentieth century, and its legacies for post-colonial aesthetic practices. The volume offers a new perspective on familiar aspects of Expressionism and abstraction, taking seriously the inheritance of modernism for the twenty-first century in ways that will help to recalibrate the field of Expressionist studies for future scholarship. Der Blaue Reiter still matters, the contributors argue, because the legacies of abstraction are still being debated by artists, writers, philosophers and cultural theorists today.

Representations of Marseille
Joseph McGonagle

on double-page spreads. Images of families (36–7) and, presumably, of sons in front of their fathers (82–3) also coincide. Furthermore, not only are the daily routines and familial structures of different ethnicities seen as comparable; their religions and religious celebrations are too. The most remarkable aspect of the book’s layout is its juxtaposition of different ethnic groups performing similar religious rituals. Therefore a section devoted to wedding scenes (Jeanmougin 1992: 38–45) shows photographs of Jewish, Roma and Algerian marriages alongside one

in Representing ethnicity in contemporary French visual culture
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Joseph McGonagle

in much of French visual culture itself generally, the chapter’s corpus here purposely comprises works that challenge the capital’s hegemony by concentrating on life in the provinces. The second chapter addresses a highly symbolic group in contemporary France – namely, its largest and arguably most visible or marked ethnic minority: people of Algerian heritage. The representation of Maghrebis and those of Maghrebi heritage in French cinema – and in particular of the younger generation mostly born in France to post-1945 Maghrebi migrants settled there – is an

in Representing ethnicity in contemporary French visual culture
Engaging with ethnicity
Joseph McGonagle

Algerian flag. This photograph, however, does not simply allude to its subjects’ supposed ethnic heritage. Its simultaneous inclusion under the categories ‘Islam’ and ‘couple’ emphasises the multifaceted nature of French society: with either one or both men presumably Algerian, possibly Muslim and, given their interlocking fingers, potentially gay, the two risk being triply oppressed in France on the grounds of sexual orientation, ethnicity and religious heritage but cannot easily be compartmentalised. The photograph’s composition also questions the importance of such

in Representing ethnicity in contemporary French visual culture
Jasmine Allen

imperial rule enabled Peto to expand his railway network, notably in the British colonies of Canada (1853) and Australia (1859–​63), and the French colony of Algeria (1860), where he accompanied Napoléon III to the official opening of the line. The inclusion of portraits of the British and French rulers in the form of cameo busts, a form valued since antiquity, but in the modern era commonly associated with the economic and exhibition currencies of coins and medals, revealed the financial rewards of the Anglo-​French alliance. Although we do not know the precise

in Windows for the world
Activist photography, self-reflection and antinomies
Antigoni Memou

closure of Nanterre by the administration. As is well known, the government’s tactics and the increasing brutality of the police contributed to the explosion of public meetings, organised action committees, vigorous demonstrations along the boulevards and the narrow streets of the Latin Quarter, widespread occupations that culminated in the highly symbolic ‘night of the barricades’ on the 10 May.3 The movement was organised by various groups and Committees and was lacking formal leadership, hierarchy and centralised structure. After the war in Algeria, the Union des

in Photography and social movements
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Hostage-takings and aircraft hijackings since the 1960s
Charlotte Klonk

’s throat being cut with a kitchen knife – became public after all. Thomas Riegler notes that videos of particularly excessive violence towards ‘unbelievers’ were circulated among radical groups in Bosnia, Algeria and Chechnya from the 1980s onwards, yet none of these were ever published or broadcast by Western media, and they were ‘usually only available “on the quiet” … within militant Islamist congregations’. 56 This changed abruptly after the video showing the desecration of Pearl’s corpse. From now on perpetrators did not even attempt to reach the Western media

in Terror
Situating the mock-documentary
Jane Roscoe and Craig Hight

between these two types of screen texts. The Battle of Algiers (1965) and The War Game (1966) The Battle of Algiers (Gillo Pontecorvo, 1965) is a text which has been specifically described by some writers as a ‘mock-documentary’ (McNeil, 1993 ). It is a reconstruction of French colonial defeat and disgrace in Algeria, covering the pivotal years of 1954–7 in the Algerian struggle

in Faking it