Michael Pierse, Churnjeet Mahn, Sarita Malik, and Ben Rogaly
history is made. In Rushdie's Midnight's Children ( 1981 ), his narrator-protagonist's self-obsessed account of India's history presents an extreme form of subjectivity that poses questions about historical objectivity; how can we disentangle the personal from the political? Here, literature seeks to disrupt, rather than simply reflect, the real world. Creative interruptions can also expose the risible pomposity, racism and classism of the arts establishment, as, for example, in MathieuKassovitz's film La Haine (1995), where three young working-class men of
the police, in
round-ups (rodéos) that end in predictable tragedy for the book’s protagonists.
Charef’s early Beur novel, however, does point out the “in-between” status of
children like Majid, who are neither French nor Algerian. It makes a strong connection between social and economic exclusion and urban violence. The 1995
fiction film La Haine, presented in a documentary style by director MathieuKassovitz, makes a similar point by following a day in the lives of Saïd, Vincent
and Hubert, three young residents of a dilapidated housing project outside Paris.
banlieues, a group that added young
Algerians fleeing the civil war in Algeria to the mix in the banlieues. Silverstein
sees in this new generation as the dystopian counterparts of their utopian predecessors, substituting a culture of hate and rioting for organization and marches.
They created a an inward-looking culture of neighbourhood gangs, rodéos and
daily violence. MathieuKassovitz’s film La Haine (1995) portrays the anger
and sense of abandonment that minority youth in the cités felt. At this time
a transnational filiation with Islamic and Algerian groups also