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What Lessons Can Be Drawn from Case Studies in France, the United States and Madagascar?
Hugo Carnell

humanitarian sector will consistently engage with in the coming years. This research article conducts a comparative historical survey of public health responses to three separate plague epidemics, spanning pre-bacteriological, early bacteriological and modern eras of public health – Marseille in 1720–22, San Francisco in 1900–04 and Madagascar in 2017. Following this analysis is a more general perspective on the status and possible epidemiological future of plague in 2022

Journal of Humanitarian Affairs
Open Access (free)
Phoebe Shambaugh
Bertrand Taithe

, the papers in this issue emphasise the dialogue between academic and practice-based knowledge production. The first research article, by Hugo Carnell, offers a historical analysis of three specific cases of plague epidemic to inform a discussion of the potential threat of a fourth plague pandemic, which he particularly locates in humanitarian and displacement contexts. In his periodic selection of the Marseille (1720–22), San Francisco (1900–04) and Madagascar (2017) epidemics, he emphasises the

Journal of Humanitarian Affairs
Sean Healy
Victoria Russell

Europe; the owner, captain, senior officers plus one of the Génération Identitaire activists were arrested and charged with human trafficking. At one point, they even needed to be rescued themselves, by the Sea-Eye ( Mulhall, 2017 ). Finally they were forced to cancel the mission on 19 August 2017. On land, the group held protests at commercial entities associated with search and rescue and, in October 2018, invaded the Marseilles office of SOS

Journal of Humanitarian Affairs

The issue of ethnicity in France, and how ethnicities are represented there visually, remains one of the most important and polemical aspects of French post-colonial politics and society. This is the first book to analyse how a range of different ethnicities have been represented across contemporary French visual culture. Via a wide series of case studies – from the worldwide hit film Amélie to France’s popular TV series Plus belle la vie – it probes how ethnicities have been represented across different media, including film, photography, television and the visual arts. Four chapters examine distinct areas of particular importance: national identity, people of Algerian heritage, Jewishness and France’s second city Marseille.

Real and imagined boundaries between metropole and empire in 1920s Marseilles
Yaël Simpson Fletcher

The 1922 National Colonial Exposition in Marseilles included a West African tower three times the height of the original in Timbuctu, an enormous Indochinese palace based on the temple of Angkor Wat, and a Near Eastern compound crowded with minarets, domes and courtyards (see Figures 23 – 4 ). Together these buildings were designed to materialise the cultural heterogeneity of the French empire. These inflated simulations of indigenous architecture, with their ‘vertiginous and phony exactitude’ (to

in Imperial cities
Representations of Marseille
Joseph McGonagle

4 A multi-ethnic metropolis: representations of Marseille If proof were needed of Marseille’s historical significance and importance within France, one need only recall the French national anthem. It was the presence of so many Revolutionaries from the southern city among those marching from the Rhine to Paris in 1792 that led to their ‘Chant de guerre de l‘armée du Rhin’ being renamed ‘La Marseillaise’, immortalised in Jean Renoir’s 1938 film of the same name. The oldest city in France – in 1999 it celebrated its 2600th year of existence – Marseille is also

in Representing ethnicity in contemporary French visual culture
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The symbolics of space in the cinema of Robert Guédiguian
James S. Williams

3 Requiem for a city: the symbolics of space in the cinema of Robert Guédiguian Space and being in contemporary French cinema Symbolics of space in the cinema of Robert Guédiguian Marseilles never ceases to evade the take. (J.-L. Comolli) This area is dead, and so are we. (Bert in Dernier Été) Marseilles metropolis The spectacular opening panning shot of La Ville est tranquille/ The Town is Quiet (2000) is one of the most majestic and seemingly all-encompassing in recent French cinema. To the calm, opening notes of Erik Satie’s Trois Gymnopédies, the camera

in Space and being in contemporary French cinema
Samuel Zaoui’s Saint Denis bout du monde
Mireille Le Breton

France between World War II and 1965, before and after Algerian independence, they dreamed of climbing the social ladder. After disembarking in Marseille, they lived in numerous French cities, traveling north in search of better working conditions. Yet, the characters failed at all points of their journey, only to land in Saint Denis in the 1970s as middle-aged men, just as les Trente Glorieuses, the glorious thirty-year economic boom, was ending. Thirty-five years later, with the three chibanis reaching retirement, this ghettoized area literally seems to be the end of

in Reimagining North African Immigration
Brett Bowles

stark juxtaposition of two distinct styles. The first ninety minutes are consistently well balanced thanks to the judicious integration of theatrical studio scenes and documentary-like open-air sequences shot in Marseilles. As with Fanny’s stunned march to Notre Dame de la Garde, the use of location shooting enhances characterisation and adds emotional punch. Panisse’s joy at marrying Fanny is expressed

in Marcel Pagnol
Abstract only
Joseph Mai

evaluation of friendship from an outside perspective, in light of the place of this class within History.5 These two strands of friendship will be at the centre of this book: friendship as a local story and friendship within a broader, collective History. This understanding of ‘living’ in history is anchored in Guédiguian’s own upbringing, in L’Estaque (and surrounding areas), the working-​ class neighbourhood of Marseilles where he was born and raised and where most of his films are set. L’Estaque, today forming a somewhat isolated northern neighbourhood of the city, sits

in Robert Guédiguian