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Les Histoires d’amour finissent mal en général and Souviens-toi de moi

discussed in chapter 4 ) but also of comedies involving ethnic difference and films by a new generation of filmmakers which take for granted a multi-ethnic social background. However, even after two decades of settlement in France of the families of immigrants from the Maghreb, there were relatively few representations of young beur women. The majority of these films figure an ethnic minority presence primarily through black or beur males or black females, as

in Reframing difference

/Inner City , 5 Raï La Haine mobilises a trio of young men from different ethnic backgrounds – Jewish, black and beur – and insists on their common bonding within a hybrid oppositional youth culture, based on the language of the banlieue , music, drugs, petty crime, unemployment, hatred of the police and social exclusion, in a world where white, black and beur youths are all victims of police violence. The film follows the trajectory of the

in Reframing difference
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The making of Medem

This chapter presents an account of Julio Medem's early years and a background of his family, lineage and ethnicity. It also throws light on what made Medem politically aware and inclined him towards films. Medem's initial attempts at making films were from his own household. His educational training was in anatomy, but he never practised medicine. 1983 to 1985 are described as Medem's film buff years, when he found out that he really liked the auteurist cinema. 1984 was when he enrolled himself for a course in professional video. Medem collaborated on the script, direction and editing of José María Tuduri's Crónica de la segunda guerra carlista, which prepared him for his narrative, Vacas. In 1989, he won a commission to write, direct and edit a short feature, El diario vasco. Eventually, Medem set the bar high for a ‘New Basque Cinema’.

in Julio Medem

backgrounds, in this case black-blanc-métisse . But whereas La Haine , despite its exhilarating style, is primarily a pessimistic, realist film, Métisse is a light-hearted comedy with a happy ending. Superficially, then, these two films, made only two years apart, appear to offer diametrically opposed constructions of France as a multicultural, multi-ethnic society, Métisse promising hybridity and racial harmony, La Haine beginning and ending

in Reframing difference
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-emerge here in describing the military leader of one side. While the war as a whole was rarely explained in terms of primitive ‘ethnic hatreds’ in our samples of coverage, the military actions of the Serbs were explained in terminology which does evoke this idea. It is also notable that many descriptions are highly personalised: the accent is less on his politics than on his character, psychology, background

in Framing post-Cold War conflicts
Marie-Line and Chaos

fairy-tale narrative structure of her earlier comedies, ‘bringing together two people from different and potentially antagonistic class and ethnic backgrounds and producing social awareness, humour and romance’ (Tarr with Rollet 2001 :181). Unlike any of her other feature films, however, the romance of Chaos lies in the relationship between two women, making this her most openly feminist feature film to date. However, the film raises a number of problems in

in Reframing difference

others’, and admitted that not enough had been done to reflect the changing culture of Britain. These men and a few women all promised to stop endless meetings and to ‘take action to promote talent from ethnic minority backgrounds’. The project’s first chairman was Carlton TV’s chief executive Clive Jones. Jones reminded broadcasters that they would ‘lose even more viewers’ if changes did not occur. Britain was rapidly facing a change in demographics, described by Jones as a revolution, which clearly signalled a need for rapid change. ‘Either [they] adapt’, stated

in Paving the empire road
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given an ultimatum which any sovereign state would find unacceptable, but there was little discussion of the recent background of conflict in Kosovo. Instead, a few articles explained the conflict in terms of ‘ancient ethnic hatreds’, while the majority portrayed it as a case of one-sided, quasi-colonial Serbian aggression, despite the fact that, as indicated in the introduction to this chapter, the KLA was

in Framing post-Cold War conflicts
Samia and La Squale

backgrounds, be it the oppressive patriarchal Algerian family or the neglectful, black, single-parent family, and the films thus risk conforming to majority French cultural assumptions about inadequate immigrant families whose daughters need to be rescued. What makes them interesting is that they create heroines capable of rescuing themselves (with a little help from other ethnic minority women) and able to negotiate a provisional space of resistance for their emergent subjectivities

in Reframing difference
From Le Thé au harem d’Archimède to Cheb

, torn between the (unrealistic) expectations his mother has of him as an Algerian and his experiences on the streets of Paris with Pat. He is most often seen in the company of Pat and it is through the doubling-up of central protagonists with different ethnic origins, who nevertheless share the same underprivileged background (sordid housing estate, no job, no money, no prospects), that the film is able to provide points of recognition and identification for

in Reframing difference