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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
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