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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.

Representations of Marseille
Joseph McGonagle

4 A multi-ethnic metropolis: representations of Marseille If proof were needed of Marseille’s historical significance and importance within France, one need only recall the French national anthem. It was the presence of so many Revolutionaries from the southern city among those marching from the Rhine to Paris in 1792 that led to their ‘Chant de guerre de l‘armée du Rhin’ being renamed ‘La Marseillaise’, immortalised in Jean Renoir’s 1938 film of the same name. The oldest city in France – in 1999 it celebrated its 2600th year of existence – Marseille is also

in Representing ethnicity in contemporary French visual culture
John Mundy and Glyn White

in’ (2007: 20). This notion that comedy can be a Janus-like process, a barrier as well as an entrance, both a ‘sword and a shield’, is important when we attempt to understand the relationship between comedy, race and ethnicity. Comic material in broadcasting and film can, as we have seen, have different meanings for different audiences at different times, but it invariably relies a great deal on

in Laughing matters
Jonathon Shears

3 •• Nation, empire and ethnicity The Great Exhibition, as is often the case with events of national significance, offered Britain an opportunity to reflect on her position in a global context. For Auerbach and Hoffenberg it ‘put the nation on display and served as a forum for discussions of Britishness’ (2008: p. x); it also afforded a chance to rethink shared cultural and moral values and the national character, relationships with other nations, the future of the empire and the colonies, and ‘The images that the English constructed of themselves’ (Daly, 2011

in The Great Exhibition, 1851
A sourcebook
Editor: Jonathon Shears

This book, a collection of essays, presents new interpretations of one of the most significant exhibitions in the nineteenth century. It exposes how meaning has been produced around the Great Exhibition held at the Crystal Palace. The book contains a series of critical readings of the official and popular historical record of the Exhibition. The 'Exhibition of the Industry of all Nations', as it was initially referred to, was the product of a number of issues. The first is the liberal shift in politics of the 1830s that popularised laissez-faire attitudes to manufacture and enterprise. The second is the need to address Britain's position as an economic power and moral arbiter in post-Napoleonic Europe. The third is the fortunate incidents that occurred in the 1840s to bring together the men who would shape the venture. Mass production, as much as artisanship, was showcased at the Exhibition and much of the rhetoric of the Official Catalogue concerned the way mechanisation could save time, expense and labour. The fear of ethnic and cultural difference was rampant in Exhibition literature. The presence of women at the Exhibition raised gender issues such as being objectified and the threat of being 'seen'. Increased concern for the welfare of the working classes is one dominant motif of political which the organisers of the Great Exhibition could not avoid engaging. The book portrays the determined use of industrial knowledge, definitions of nation and colony, and the control of the Crystal Palace after the Great Exhibition closed.

Engaging with ethnicity
Joseph McGonagle

1 Changing notions of national identity: engaging with ethnicity As the Introduction made clear, since the early 1980s France has experienced an important period of significant political and social change. Many prevailing notions of national identity were redefined as the descendants of post-World War Two migrants to France (and especially those of Maghrebi heritage) came of age. Laws on nationality and citizenship were repeatedly revised, and controversy raged over measures that purportedly challenged the primacy of French republican universalism as well as

in Representing ethnicity in contemporary French visual culture
Abstract only
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
Rethinking art, media, and the audio-visual contract
Author: Ming-Yuen S. Ma

There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.

Unity in diversity at royal celebrations
Susie Protschky

organise: mast- and rope-climbing races, timed obstacle courses and other feats of skill (see figure 3.5 ). In the evenings an aircraft hangar served as the festival hall where men took their meals and watched performances, including a komedi bangsawan (Malay opera). 1 De Hoog's camera also recorded the performance of various dances associated with particular ethnic groups that were increasingly appropriated for koninginnedag celebrations: for instance, the kuda kepang , or ‘bamboo horse’ dance, the hallmark of

in Photographic subjects
Jasmine Allen

how stained glass was used to articulate national identity, mark territory, and affirm the political presence of ruling oligarchies. The second part considers the use of stained glass as imperial propaganda within international exhibitions, focusing on the two largest and most dominant empires of the era, Britain and France.4 The final section speculatively explores the role of stained glass in the formation of racial and ethnic stereotypes to both emphasise human variety and reinforce social hierarchies. Since stained glass was an art form principally associated

in Windows for the world