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Representing people of Algerian heritage

) 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

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

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

, 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