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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 Mathieu Kassovitz's film La Haine (1995), where three young working-class men of

in Creativity and resistance in a hostile world
Islam and the contestation of citizenship
Shailja Sharma

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 Mathieu Kassovitz, 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. Saïd

in Postcolonial minorities in Britain and France
The backlash against multiculturalism
Shailja Sharma

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. Mathieu Kassovitz’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

in Postcolonial minorities in Britain and France