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Richard Kilborn

general rule in that a legitimate claim could be made that the post-Wende Golzow films are providing a record of how a society comes to terms with such an epoch-making occurrence. Once again, however, there is relatively little discussion of the leadup to and the aftermath of these events. The focus is on revealing how individuals are adjusting to living under a new political system, how some of them are coming to terms with their sense of quite considerable disorientation and how all of them, in both a professional and personal sense, are having to build their lives

in Taking the long view
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Representing people of Algerian heritage
Joseph McGonagle

) assertion that: The recesses of the domestic space become sites for history’s most intricate invasions. In that displacement, the borders between home and world become confused; and, uncannily, the private and the public become part of each other, forcing upon us a vision that is as divided as it is disorientating. Representing people of ­Algerian heritage 95 As here, it is in the home that the ‘unhomeliness … of extraterritorial and cross-cultural initiations’ (Bhabha 1994: 9) makes its presence felt. The quality of the video also adds a further sense of authenticity

in Representing ethnicity in contemporary French visual culture
Parameters of Jewish identity
Joseph McGonagle

effective in connoting a sense of panic and terror. His Parameters of Jewish identity 157 combination of short takes and fast editing, along with the recurrent use of handheld cameras, creates a more visceral sense of disorientation, which is accentuated by the frequency of mid-level shots that relegate actors’ faces off-screen. Later, however, while the children reside alone at the camps, viewers witness a series of acts of kindness towards the children from local people, which may recall aspects of La Rafle. These include women passing apples to children through the

in Representing ethnicity in contemporary French visual culture
Representations of Marseille
Joseph McGonagle

depicted France as a hexagon with images of Marseille inside: an apt metaphor for their vision of France as a self-contained space, impervious to the outside. Aversion to the disruption of internal and external borders can also be witnessed in the figures of Michèle and Gérard: the latter tells Paul that Michèle’s abortion was so traumatic that it led to their separation because the sight of so much blood repulsed him. The event scarred the two for life and furthers the impression that this society in Guédiguian’s Marseille is psychologically damaged and disorientated

in Representing ethnicity in contemporary French visual culture
Engaging with ethnicity
Joseph McGonagle

, providing a barrier between viewers and the hut and flag behind. Humour is created, however, by the disjuncture between the casualness of their dress – summer clothes and beachwear – and more formal demeanour. Moreover, the seriousness of some  of their expressions is somewhat subverted by the sorry state of the tricolour above them, which flies raggedly with a large tear between its white and red segments. By showing it flying in reverse, Choquer creates a sense of disorientation heightened by the camera angle, which forces viewers to tilt their heads to the right to

in Representing ethnicity in contemporary French visual culture
Richard Kilborn

increasingly isolated and disorientated and his future has begun to look increasingly bleak. During these years Apted tracks him down in various far-flung places. Often the bleakness of the locations in which he is filmed seems to reflect the apparent hopelessness of Neil’s position. Since Neil turned out to be such a troubled soul, part of the narrative quest is to throw some light on how he has come to be this way. More so perhaps than in any other Seven Up biography, Neil’s story becomes one in which, to an increasing extent, understanding is sought for the psychological

in Taking the long view
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Richard Kilborn

whole fabric of their society was being totally transformed (Richter, 1994: 20) The final phase of The Children of Golzow The impact of the Wende and the transformations it brought about have had a marked impact on all the post-1990 Golzow films. As Erika Richter rightly points out, the films provide us with the opportunity to witness a group of subjects with whom we are already well acquainted, going through the often painful process of adapting to radically changed circumstances. Disorientation, bewilderment, anger and sadness are all emotions that the Golzower

in Taking the long view