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Coline Serreau and intertextuality
Brigitte Rollet

films she had shown mainly an ethnically uniform French society, before starting at the end of the 1980s to introduce in a more direct way other social and ethnic groups. Thus, she reflects social changes and its consequences (white- and blue-collar delinquency and drugs in Romuald et Juliette, unemployment and social exclusion in La Crise), with the arrival of a pluri-ethnic French society. At a time when racism was becoming a wider problem fuelled among other things by the rise of the far-right political party Front

in Coline Serreau
Questioning gender roles
Brigitte Rollet

characteristics of a science-fiction film. It could be seen as a piece of pro-life propaganda and a heavy vehicle for family values. However, the ideological reappropriation of family matters by right-wing and far-right political movements does not necessarily imply that family is in itself a ‘right-wing’ or conservative issue. One way of understanding these apparent contradictions would be to consider the specificity of France and French feminists with regard to motherhood. Indeed, motherhood has always been a tricky issue for feminists

in Coline Serreau
Representations of Marseille
Joseph McGonagle

foreground, far-right political activists paste posters to the wall proclaiming ‘Préférence Nationale’ and ‘Immigration Invasion’. As the teenagers spit upon their posters, the distant sounds of raï serve to challenge the far-right’s vision of hexagonal hegemony. The role played by the sea and water in the film merits further exploration and recalls comments made by the director Claire Denis who, when discussing her own experience of filming in Marseille, argued that the Mediterranean can be seen symbolically as a kind of amniotic fluid, which helps link a film

in Representing ethnicity in contemporary French visual culture