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Véronique Machelidon and Patrick Saveau

the local, represented by the substandard lifestyles of the cité (housing project) and the culturally impoverished banlieue, to embrace richly diverse spaces, stories and cultures that pertain to the national and transnational. Cinematic production nowadays is tightly linked in different ways to the television industry. As television channels regularly contribute to the funding of full-length feature films and therefore facilitate the shooting of works by relatively unknown or inexperienced film directors, post-beur authors seek broader audiences for their ideas by

in Reimagining North African Immigration
Franco-Maghrebi identity in Hassan Legzouli’s film Ten’ja
Ramona Mielusel

choose to keep the expression “Franco-Maghrebi’ in order to distinguish Legzouli from a “Franco-French” filmmaker.  2 Born in 1963 in Aderj, Morocco, Legzouli has lived in Lille since the 1980s, when he came to study mathematics but went for cinema instead. He continued his film studies in Brussels, where he received his film director’s degree from INSAS (Institut National Supérieur des Arts du Spectacle) in 1994. He returned to France to pursue a career as a film director.  3 Ailleurs et ici (1990), Coup de gigot (1991), Le Marchand de souvenirs (1992), Là-bas si j

in Reimagining North African Immigration
Building identities in Faïza Guène’s novels
Florina Matu

along with its translation into more articulated destinies. The French writer and film director portrays young female characters, their struggle with their parents and siblings, and their own quest for a harmonious dual identity in the Parisian housing projects or cités. The author depicts the tortuous, but impressive, tension between valiant female 50 Reimagining North African immigration protagonists’ journeys of rejection and integration with sarcasm and humor, in a touching and hopeful tone. Highly entertaining and authentic, the characters’ street language, a

in Reimagining North African Immigration
Transcending the question of origins
Emna Mrabet

’s play ends with master and servant couples falling in love within their respective social class: the masters with the masters and the servants with the servants, despite their confusing disguises.  9 Malik Chibane, the film director of Hexagone and Douce France, resorts to humor to diffuse the drama of his narratives. 10 La faute à Voltaire (2001), L’esquive (2004), La graine et le mulet (2007), Vénus noire (2010), La Vie d’Adèle chapitres 1&2 (2013). 11 L’Esquive and La Graine et le mulet were awarded four Césars respectively, and his latest film, La Vie d

in Reimagining North African Immigration
Bogdan Popa

the bourgeoisie, which was focused on representing reality in art (or what Arvatov calls depictive art), productivism calls for a dialectical production of facts. In Arvatov’s words, art should create a new society by uniting an objective gaze with “a montage of actual facts.” 52 When discussing the montage of facts, Arvatov was interested, like the Soviet film director Lev

in De-centering queer theory
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Bogdan Popa

Pârvulescu , Orphans of the East: Postwar Eastern European Cinema and the Revolutionary Subject ( Bloomington : Indiana University Press , 2015) , pp. 92–117 , where he discusses the conflict between State bureaucrats and a new generation of film directors in Krzysztof Kieślowski’s Camera Buff

in De-centering queer theory
Ian Goodyer

could empathise. Whatever negative connotations attached themselves to punk rock – and film director Gurinder Chadha remembers her own assumption that punk was a ‘hard’ and predominantly right-wing phenomenon6 – RAR and the ANL formed a pole of attraction for individuals who wanted to express their opposition to racism and the NF. The ‘offputting effect’ identified by Frith and Street may not have been entirely absent, then, but it was offset by a feeling of empowerment that was becoming increasingly strong within Asian communities. Chadha, for instance, attended the

in Crisis music
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Dimitris Dalakoglou

2 The road to Albania In nine days I reached Tepaleen, our journey was much prolonged by the torrents that had fallen from the mountains and intersected the roads. (Lord Byron, letter to his mother, November 12, 1809) Ulysses’ Gaze (1995) is a film by Theo Angelopoulos. It tells the story of a US-based film director, played by Harvey Keitel, who travels around the Balkans in the early 1990s, following in the footsteps of the Manaki Brothers, two pioneers of Balkan filmmaking who documented the people of the region via photographs and film in the early

in The road
Mona El Khoury

. This is what is missing from the banlieue today, and when bad interpretations of religion are mixed up with it.) In the end, Djaïdani’s Rengaine is a summary of the film director’s own adventure. Like Slimane, he is the eldest of his siblings and he ventured on hazardous paths. Like Dorcy, he fights to exist through art. Moreover, since he is himself of ‘mixed-race,’ he epitomizes Sabrina and Dorcy’s future. With a Black Algerian mother of Sudanese origin and an Algerian Arab father, Djaïdani’s hybridity is like that of Dorcy and Sabrina’s future offspring. 92

in Reimagining North African Immigration
New perspectives on immigration
Caroline Fache

political responsibility to do so. The film directors they chose opted for comedy rather than drama or documentary, two genres that dominate the representation of immigration on-screen. One question still needs to be addressed: did they succeed in providing an alternative, popular, and entertaining image of immigrants’ descendants, and if so, to what extent? Without a doubt both channels, which used different strategies, considerably contributed to representing minorities (Maghrebi in particular) and thus enhanced their representativeness. One measure of this success can

in Reimagining North African Immigration