Academic literature on the topic 'Banlieue-film'
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Journal articles on the topic "Banlieue-film"
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Fourcaut, Annie. "Aux origines du film de banlieue :." Sociétés & Représentations 8, no. 1 (2000): 113. http://dx.doi.org/10.3917/sr.008.0113.
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Reader, Keith. "Thebanlieuein French cinema of the 1930s." French Cultural Studies 25, no. 3-4 (August 2014): 387–95. http://dx.doi.org/10.1177/0957155814540405.
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This article looks at representations of the banlieue in the cinema of the 1930s – a period before the term banlieue was synonymous with deprivation and violence as, especially since Matthieu Kassowitz’s 1995 film La Haine, it has subsequently tended to become. The work of Claude Autant-Lara and Maurice Lehmann ( Fric-Frac, Circonstances atténuantes) and that of Anatole Litvak ( Cœur de Lilas) receive close attention along with two more widely known films, Marcel Carné’s tragic Le Jour se lève, whose banlieue is topographically unsituated but could well be Parisian, and Jean Renoir’s Partie de campagne where the countryside near Paris provides the setting for two bucolic idylls that offer a different, less grim view of the banlieue than that nowadays current.
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Reeck, Laura. "Gender and Genre in Banlieue Film, and the Guerrilla Film Brooklyn." Romance Studies 36, no. 1-2 (April 3, 2018): 76–90. http://dx.doi.org/10.1080/02639904.2018.1457829.
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Sendra, Estrella. "Banlieue Films Festival (BFF): Growing Cinephilia and Filmmaking in Senegal." Aniki: Revista Portuguesa da Imagem em Movimento 8, no. 1 (January 23, 2021): 245–72. http://dx.doi.org/10.14591/aniki.v8n1.734.
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This article examines small film festivals in the socio-cultural context of Senegal. Through the case study of the Banlieue Films Festival (BFF) in Dakar, founded in 2013 by Abdel Aziz Boye, I analyse the crucial role of festivals in strengthening the film industry, fostering cinephilia and encouraging the practical application of cultural policies. I suggest that contemporary film production, particularly, in the past five years (2015-2020) has been significantly shaped by grassroots initiatives that have eventually been transformed into structures. I also explore the role of “rooted cosmopolitans”, borrowing Kwame Appiah’s term in relation to the figure of Abdel Aziz Boye, who founded Ciné UCAD at the Université Cheikh Anta Diop, in Dakar, Ciné Banlieue, and, upon returning to Senegal from France, the BFF. I discuss BFF’s various forms of legacy, concluding that it has been an active agent in forging a new cinephilia and inspiring a wave of young filmmakers in Senegal.
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Reader, Keith. "Reframing Difference: ‘Beur’ and ‘banlieue’ Film-Making in France." French Studies 60, no. 3 (July 1, 2006): 419. http://dx.doi.org/10.1093/fs/knl103.
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Pettersen, David. "American Genre Film in the French Banlieue: Luc Besson and Parkour." Cinema Journal 53, no. 3 (2014): 26–51. http://dx.doi.org/10.1353/cj.2014.0024.
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O'Leary, Alan. "The Battle of Algiers at Fifty: End of Empire Cinema and the First Banlieue Film." Film Quarterly 70, no. 2 (2016): 17–29. http://dx.doi.org/10.1525/fq.2016.70.2.17.
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The fiftieth anniversary of the release of The Battle of Algiers (Gillo Pontecorvo, 1966) offers an occasion to challenge commonplaces about the film and to show that there remains much to be clarified about its character. Typically discussed in terms of its debt to Italian neorealism, The Battle of Algiers can also be related to Italian colonial cinema made during the fascist period. The film recounts the genesis of the Algerian nation, but it is at the same time a film about the end of the French empire. Meanwhile, an analysis of location in the film's little-discussed coda shows The Battle of Algiers to be the first in a long line of banlieue cinema—that is, it is a film that presciently anticipates postcolonial conditions on the territory of France itself.
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Budzik, Justyna Hanna, and Marta Kasprzak. "O pewnej tendencji (współczesnego) kina francuskiego… „Kino przedmieść” i jego wizualne parateksty na przykładzie "Nienawiści" Mathieu Kassovitza i "Nieustraszonej" Danielle Arbid." Panoptikum, no. 23 (August 24, 2020): 150–67. http://dx.doi.org/10.26881/pan.2020.23.11.
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In this paper we elaborate on the educational use of film posters understood as film paratexts in Gérard Genette’s theory as well as in later media research. The subject of our research is cinéma de banlieue – a French film movement that situates the protagonists not only spatially, but also socially (such as La Haine, dir. M. Kassovitz, 1995, Entre les murs, dir. L. Cantet, 2008, Peur de rien, dir. D. Arbid, 2015, and Dheepan, dir. J. Audiard, 2015). By analyzing film paratexts, we include these materials in the context of cultural representations of the Parisian suburbs. Our research is established in educational and academic practice whose essential part is the in-depth work with the paratexts conducted by students and facilitated by the lecturer.
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Azura, Atika, and Joesana Tjahjani. "Banlieue et la construction d’identité du personnage principal dans le film Divines." Digital Press Social Sciences and Humanities 3 (2019): 00006. http://dx.doi.org/10.29037/digitalpress.43279.
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<p class="Abstract">This article reveals the suburbs as a place of residence and the <span style="font-size: 1rem;">construction of the identity of the main character in the film Divines </span><span style="font-size: 1rem;">(2016) by Houda Benyamina. This film tells of a life of teenagers in </span><span style="font-size: 1rem;">France of African immigrants in a suburb. Dounia who is a teenager </span><span style="font-size: 1rem;">has the ambition to leave the suburbs and have the life out of the </span><span style="font-size: 1rem;">suburbs. The suburb is the setting of the film representing a residence </span><span style="font-size: 1rem;">far from downtown whose living conditions are less appropriate. It is </span><span style="font-size: 1rem;">a form of social segregation created by the French government which </span><span style="font-size: 1rem;">has multiple social problems to its inhabitants. The methodology used </span><span style="font-size: 1rem;">is the qualitative research methods. To analyze the narratives and </span><span style="font-size: 1rem;">cinematographic aspects, the theory of film studies of Boggs &amp; Petrie </span><span style="font-size: 1rem;">has been used, while the concept of identity of Stuart Hall has been </span><span style="font-size: 1rem;">used to reveal the social problems of these young people about their </span><span style="font-size: 1rem;">identity. The result of the analysis shows that the suburbs appears like </span><span style="font-size: 1rem;">a hard and violent space for its inhabitants, and the characters are </span>haunted by dreams of escape. Dounia has fantasies of freedom and luxury which she could find them <span style="font-size: 1rem;">outside the suburb. As the suburb is a living space, the ambition is simply to leave the suburbs. The </span><span style="font-size: 1rem;">identity of Dounia is built from her efforts to achieve her ultimate dream: a new life out of the suburbs.</span></p>
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Taban, Carla. "Une Catastrophe de Rien du tout ou De “l’ anarchie de l’ imagination”." Samuel Beckett Today / Aujourd’hui 31, no. 2 (October 24, 2019): 278–94. http://dx.doi.org/10.1163/18757405-03102007.
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Résumé Au début de 2006 les artistes Maya Schweizer et Clemens von Wedemeyer ont tourné le film Rien du tout avec la collaboration des élèves d’ un lycée local, dans une banlieue parisienne semblable à celles que des émeutes ont ébranlées en novembre 2005. Employant un riche réseau de références artistiques et culturelles, parmi lesquelles Catastrophe de Beckett et les films de Fassbinder sont les plus saillantes, Rien du tout raconte l’ histoire d’ une réalisatrice autoritaire et de son dispositif cinématographique dont la domination est finalement détournée par des figurants rétifs. L’ image éphémère d’ une société hybride et égalitaire est offerte au spectateur pour qu’ il l’ examine et la compare avec la sienne propre.
Dissertations / Theses on the topic "Banlieue-film"
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Silvester, Hannah. "Translating banlieue film : an integrated analysis of subtitled non-standard language." Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/30976/.
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This thesis examines the subtitling of films depicting the French banlieue into English. The banlieues are housing estates situated on the outskirts of large towns and cities, and are primarily home to the underprivileged, and immigrants to France or their descendants. The sociolect spoken in the banlieue differs from standard French in terms of grammar, lexicon and pronunciation. Three films released between 2000 and the present day are studied; La squale (Genestal, 2000), L'esquive (Kechiche, 2003) and Divines (Benyamina, 2016). A new integrated methodology is developed, which examines the films within their broader contexts of release, and in light of paratextual material contributing to the context of reception, and to the viewer's understanding of the topic at hand. Directors representing the banlieue on screen generally do so with a view to provoking thought or public discussion in relation to the banlieues. In addition to macro- and micro-contextual analysis of the films and subtitles, the work is underpinned by an examination of the subtitling situation, encompassing the views and experiences of subtitlers working on banlieue film, and technical analysis of the subtitles in terms of readability. Through interviews of professional subtitlers, and close technical analysis of the subtitles, this research is contextualised within the industry, and within current conventions and guidelines. Close analysis of subtitles and the translation solutions they present reveals that some of the socio-political messages presented in the films may not be evident to a non-French speaking viewer of the English-subtitled versions. Although the informal nature of many conversations featuring the langage de banlieue is sometimes clear in the subtitled version, the unique sociolect of the characters is not. In two of the case study films, a dialect-for-dialect approach was adopted, where African American vernacular English was used in the subtitles to demonstrate the use of non-standard language. However, it is argued that ultimately, this dialect-for-dialect approach, combined with cultural similarities between the French banlieue and American street culture, could lead the British Anglophone viewer to negotiate the banlieues and those who live there via their knowledge of American street culture. This could contribute to American cultural hegemony, and does not convey the specificity of France's banlieues as cultural melting pots.
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Assis, Ryan Brandão Barbosa Reinh de. "Cinéma beur e Banlieue-film : reflexões a partir de Le Thé au harém d’Archimède e La Haine." Universidade Federal de Juiz de Fora (UFJF), 2016. https://repositorio.ufjf.br/jspui/handle/ufjf/4080.
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CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Por meio do presente trabalho, pretendemos avaliar, sobretudo, os momentos iniciais, na França, de dois movimentos cinematográficos: o Cinéma beur e o Banlieue-film. Assim, antes de tudo, se faz necessário contextualizar, historicamente, o período relativo a sua formação. Afinal, externamente, quais questões potencializaram o seu estabelecimento? Adiante, ponderaremos, especificamente, sobre a problemática nomenclatura atribuída, à época, pela crítica – respectivamente, Cinématographe (nº 112) e Cahiers du Cinéma (nº 492) – a essas produções. Existem alternativas à Cinéma beur e Banlieue-film que se sustentam? Ou categorizar é, nesse caso, um processo sem sentido? Por fim, iremos nos ater à apreciação dos dois filmes que foram reconhecidos como o ponto de partida para esses movimentos – Le Thé au harém d’Archimède (Mehdi Charef, 1985) e La Haine (Mathieu Kassovitz, 1995) – e que, certamente, abriram caminho para muitas obras que tinham ambições semelhantes – principalmente, serem vistos e ouvidos pelos franceses, em virtude das temáticas de natureza urgente que apresentam. Necessária, tal produção desnorteia, pois expõe aquilo que muitos habitantes deste país europeu desejam, acima de tudo, esconder.
Grâce à ce travail, nous avons l'intention d'évaluer, principalement, les premières étapes, en France, de deux mouvements cinématographiques: Cinéma beur et Banlieue-film. Il est nécessaire, tout d’abord, contextualiser, historiquement, la période de leur formation. Quelles questions externes ont potentialisé son établissement? Ensuite, nous parlerons spécifiquement de la mauvaise nomenclature donnée par les critiques – respectivement, Cinématographe (n° 112) et Cahiers du Cinéma (n° 492) – à ces productions. Existe-t-il des alternatives à Cinéma beur et à Banlieue-film qui fonctionnent? Ou categorizer est, dans ce cas, un processus inutile? Enfin, nous allons commenter deux films qui ont été reconnus comme le point de départ de ces mouvements – Le Thé au harém d’Archimède (Mehdi Charef, 1985) et La Haine (Mathieu Kassovitz, 1995) – et que certainement ont ouvert la voie à de nombreuses oeuvres qui avaient des ambitions similaires – en particulier, être vu et entendu par les français, sous les thèmes de nature urgente qu’ils présentent. Nécessaire, ce production déconcerte, car elle expose ce que de nombreux habitants de ce pays européen veulent, surtout, cacher.
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Ott, Manon. "Filmer/Chercher : retour sur De cendres et de braises, un film de recherche dans une banlieue ouvrière en mutation." Thesis, Université Paris-Saclay (ComUE), 2019. http://www.theses.fr/2019SACLE007.
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Au croisement des sciences sociales et du cinéma, de la recherche et de la pratique artistique, cette thèse comprend deux volets : un film et un texte.Tourné au cours d'une recherche de cinq années en immersion dans les quartiers populaires de la ville des Mureaux, à proximité de l'usine Renault de Flins, le film De cendres et de braises (long-métrage documentaire) propose un portrait, à la fois sensible et politique, de cette banlieue ouvrière en mutation. Allant à la rencontre de ses habitants, il nous invite à écouter leurs paroles. Qu'elles soient douces, révoltées ou chantées, au pied des tours de la cité, à l'entrée de l'usine ou à côté d'un feu, celles-ci révèlent des subjectivités aussi bien intimes que politiques.Le texte, qui accompagne le film, contextualise le terrain de la recherche. Nourri du récit des habitants rencontrés, il revisite l'histoire de ces quartiers, à la croisée de l'histoire ouvrière, de l'immigration et de l'urbanisation. Il revient sur l'expérience et la fabrication du film, et notamment, sur la mise en scène de la parole et ses enjeux. Proposant une approche à la fois pratique et théorique du cinéma documentaire, cette recherche-création s'interroge ainsi sur les contours et les possibles d'un cinéma de recherche. Là où un « partage du sensible » (Rancière) pourrait permettre d'autres formes de politiqueAt the intersection of social sciences and cinema, research and artistic practice, this PhD thesis has two components: a film and a text.Shot during a five years immersion research in the neighborhoods of Les Mureaux town (France), close to Renault factory in Flins, the film Ash and Ember (documentary feature film) offers a poetic and political portrait of this working-class suburb. Meeting his inhabitants, it invites us to listen to their words. Be it soft, rebellious or sung, down the buildings, at the entrance of the factory, or next to a fire, they reveal both intimate and political subjectivities.The text accompanying the film contextualizes the field of research. Nourished with life stories of Les Mureaux people, it revisits the history of these neighborhoods, at the crossroads of labor, immigration and urbanization history. It reviews the experience and the making of the film with the inhabitants, and in particular, the “mise en scène” of theirs words and its stakes.As a practical and theoretical approach of documentary filmmaking, this research-creation examines the contours and possibilities of a research cinema. When a "sharing of the sensitive"(Jacques Rancière) could allow other forms of politics
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Bender, Joseph Masland. "Banlieue Stories: Mapping the Paris Suburbs On Screen, 1958-2012." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11274.
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The substantive la banlieue does not simply describe a geographical territory, but rather names a particular articulation of images and narratives that constitute the ‘banlieue question’. This dissertation tracks the development and contestation of a set of procedures that construct the banlieue as an object of knowledge, expertise, and intervention. Under the heading ‘banlieue stories’ I collect a range of media that engage with la banlieue as a discursive regime, challenging the practices and procedures through which screen media construct the banlieues as the ‘lost territories’ of the Republic.Romance Languages and Literatures
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MacCumber, Abigail. "Culture as a Tool of Exclusion: An Analysis of Mathieu Kassovitz's La Haine." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/949.
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Using the film La Haine (1995), directed by Mathieu Kassovitz, as an object of analysis, this paper explores culture as a tool of exclusion in France through sociological, architectural, and political contexts. It investigates La Haine as one of the first representations of the banlieue to mainstream French audiences, as well as the ways in which the film reveals how immigrants and children of immigrants struggle to find personal, cultural, and national identity in France.
Book chapters on the topic "Banlieue-film"
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Fourcaut, Annie. "On the origins of the banlieue film, 1930–80." In Screening the Paris suburbs. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526106858.003.0002.
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Retracing the development of working-class suburbia from the 1930s to the 1980s, this overview of French suburb films points to the capital’s mythical, derelict ‘zone’ as a creative matrix from which subsequent production would draw its primary social types and themes. Home to rag-pickers, streetwalkers and petty criminals, the zone outlying the Paris fortifications supplied powerful images and tropes that reinforced the perceived division between city centre and suburb. Against the backdrop of the transformation of the sordid ‘black belt’ of the interwar zone into the post-war ‘red belt’, Fourcaut details the layered quality of the suburban filmic imaginary through reference to scores of mainstream narrative films. Each period supplies its own representational codes to fulfil relatively stable functions of plot and character while actively taking stock of the changing material and demographic realities of greater Paris. Themes of escapism, poverty and dereliction point toward the ethnically diverse banlieue film that would emerge in the 1980s and most significantly in the mid-1990s.
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Fourcaut, Annie. "On the origins of the banlieue film, 1930–80." In Screening the Paris suburbs. Manchester University Press, 2018. http://dx.doi.org/10.7765/9781526107800.00007.
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Soulez, Guillaume. "What’s left of the ‘red suburb’? Hervé Le Roux’s Reprise as case study." In Screening the Paris suburbs. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526106858.003.0016.
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On 10 June 1968, in front of the Wonder battery factories in Saint-Ouen, an outraged young woman refuses to return to work despite the trade union’s vote to end the strike. Filmed by an anonymous camera operator, the altercation gives rise to the fabled ten-minute direct film Reprise du travail aux usines Wonder. Tracking down this same woman twenty-five years later, French documentarian Hervé Le Roux makes another film, the aptly titled Reprise (1995), which charts the evolution since 1968 of the working class in the former ‘red belt’ around Paris. His investigation, which results from a negotiation between a place, its inhabitants and a film crew, aims to reconstruct, trace by trace, the relevant places and their social makeup. Arguing for Reprise as a film de banlieue in the strongest possible sense, the author shows how Le Roux weaves working-class left activism back into the site in Saint-Ouen, letting himself be swept along in his depiction by neighbourhood dynamics and popular memory. Rather than trying to revive a more or less faded ‘red suburb’, the film works with the place as it is, providing stark contrast in tone and purpose to its virtual screen contemporary, La Haine (Mathieu Kassovitz, 1995).
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Cardonne-Arlyck, Elisabeth. "A crucible of emotions: Maurice Pialat’s L’Amour existe." In Screening the Paris suburbs. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526106858.003.0010.
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By turns elegiac and polemical, Maurice Pialat’s twenty-minute essay film L’Amour existe (1960) encompasses at once an individual life, the history of France from the pre-war period through WWII and the Trente Glorieuses, and the visual representation of the banlieue from Impressionist painting to poetic realism. The ineluctable push of time is embodied in the forward motion of trains, buses, bicycles and people, as well as in slow tracking or panning shots that survey the impoverished landscapes of greater Paris from dawn to dusk and into the night. The author underscores the formative qualities of an intimate, unseen and lost space in which suburban beauty lays hidden, and where, in keeping with Pialat’s chosen title, ‘love exists’. Behind the overwhelming forces of poverty, routine and modernization that its richly layered commentary denounces, L’Amour existe points to what these forces have silenced, what could have been revealed but remained invisible and unsaid. The critical faculty of the movie camera to reveal hidden realities in the apparently bleakest of worlds is reaffirmed.
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"Française de deuxième génération: Constructions of Girlhood in Banlieue Literature." In Girls in French and Francophone Literature and Film, 135–48. Brill | Rodopi, 2015. http://dx.doi.org/10.1163/9789004299283_012.
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Jean, Tristan. "Georges Franju and the grotesque genius of the banlieue." In Screening the Paris suburbs. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526106858.003.0008.
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The author addresses the spatial determinations at play in Georges Franju’s French horror masterpiece Les Yeux sans visage (1960), in which a mad scientist bent on reconstructing his daughter’s damaged face tortures and kills the unsuspecting young women he lures to his suburban villa. The author argues for a strong correlation between Franju’s directorial sensibility and the Paris suburbs’ culturally and geographically peripheral status. A locus of untold violence, Dr Génissier’s secluded villa cloaks the extraordinary under the guise of the ordinary to unsettle the film audience in a strong rejection of the nostalgic tones of Jacques Becker’s Casque d’or and of Jacques Tati’s Mon Oncle from the same period. The author relates themes of banishment and disfiguration to the sociological effects of suburban upheaval during the Trente Glorieuses. The story of Dr Génissier’s experiments gone awry – ultimately a story about the duality of victimhood and predatory madness – comes symptomatically to express other social processes at work in French culture of the period.
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Met, Philippe. "The banlieue wore black: post-war French polar, from Becker to Corneau." In Screening the Paris suburbs. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526106858.003.0012.
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This overview charts the evolution from the 1950s to the 1980s of the French detective or crime film (le polar). Proto-noir films shot before World War II had been primarily centred on Paris, a trend furthered in post-war works which regularly conjoined seedy Pigalle and the glamorous Champs-Elysées as two sides of the same coin. From Jacques Becker (Casque d’or, 1952; Grisbi, 1954) to Jean-Pierre Melville (Le Doulos, 1962; Le Samouraï, 1967) via Jules Dassin (Rififi, 1955), a gradual shift toward suburban locales takes place around new genre conventions and motifs. The suburbs variously lend themselves to hideouts, shootouts and executions; to the sale of all things illegal or counterfeit; to the gloomy atmospherics of railway tracks, deserted roadways and abandoned villas. A subsequent generation of directors would exploit the multi-faceted social and geographical reality of the modern housing estates that encroached upon traditional allotments of single-family homes and pockets of suburban wasteland; Henri Verneuil’s mainstream caper Mélodie en sous-sol (1963) thus portrays a disorientatingly mutating Sarcelles. Most decisively, Alain Corneau’s naturalistic noirs Série noire (1979) and Choix des armes (1981) add a sociological dimension to the genre by broaching questions of violence, alienation and devastation.