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Sean Healy and 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 great American film critic Manny Farber memorably declared space to be the most dramatic stylistic entity in the visual arts. He posited three primary types of space in fiction cinema: the field of the screen, the psychological space of the actor, and the area of experience and geography that the film covers. This book brings together five French directors who have established themselves as among the most exciting and significant working today: Bruno Dumont, Robert Guediguian, Laurent Cantet, Abdellatif Kechiche, and Claire Denis. It proposes that people think about cinematographic space in its many different forms simultaneously (screenspace, landscape, narrative space, soundscape, spectatorial space). Through a series of close and original readings of selected films, it posits a new 'space of the cinematic subject'. Dumont's attraction to real settings and locality suggests a commitment to realism. New forms and surfaces of spectatorship provoke new sensations and engender new kinds of perception, as well as new ways of understanding and feeling space. The book interrogates Guediguian's obsessive portrayal of one particular city, Marseilles. Entering into the spaces of work and non-work in Cantet's films, it asks what constitutes space and place within the contemporary field of social relations. The book also engages with cultural space as the site of social integration and metissage in the work of Kechiche, his dialogues with diasporic communities and highly contested urban locales. Denis's film work contains continually shifting points of passage between inside and outside, objective and subjective, in the restless flux.

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

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.

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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
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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
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Paul Greenhalgh

feeling that he is describing the bahaviour of well trained dogs. As has already been noted, the 1900 Exposition Universelle maintained the native village element, if anything expanding it slightly. In 1906 at the Exposition Coloniale in Marseilles the villages were an important part of the whole event, by this time being a natural and essential ingredient in any exposition even of modest size. At the

in Ephemeral vistas