‘Bouger pour voir les immeubles’:Jeunesse dorée(2001),L'année suivante(2006) and the Creative Mobility of Women'sBanlieueCinema

Gott, Michael

doi:10.1080/09639489.2013.802679

Modern & Contemporary France

2013

DOI: 10.1080/09639489.2013.802679

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‘Bouger pour voir les immeubles’:Jeunesse dorée(2001),L'année suivante(2006) and the Creative Mobility of Women'sBanlieueCinema

Michael Gott¹

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Cited by 3 publications

(2 citation statements)

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“…(Ameur-Zaïmeche 2001), and staged identity debates within contentious suburban spaces. These films focused primarily on male characters and tended to foreground violence and crime, with car burnings, drugs and confrontations with the police standing out as common ingredients in the genre (Higbee 2007;Gott 2013a).…”

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confidence: 99%

Crossing borders and queering identities in French-language European road cinema

Gott

Schilt

2015

Studies in European Cinema

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confidence: 99%

Crossing borders and queering identities in French-language European road cinema

Gott

Schilt

2015

Studies in European Cinema

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“…The same shift can also be seen in some recent female-directed banlieue films. As Michael R. Gott (2013: 461) notes, the films, such as Jeunesse dorée (2001) and L’Année suivante (2006), lack the typical banlieue imagery and provide new interpretations of the banlieues .…”

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confidence: 99%

Redefining stereotypes: The banlieue and female experience in Faïza Guène’s Kiffe kiffe demain

Ahonen

2016

French Cultural Studies

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In this article I discuss the female banlieue experience in Faïza Guène's Kiffe kiffe demain, which describes daily life in a Parisian banlieue from the perspective of a girl with an immigrant background. In contemporary French literature the banlieues are usually portrayed either as oppressive places, where the characters feel alienated, or as non-places: according to Marc Augé meaningless spaces of transit and anonymity. Banlieue representations have also often reproduced stereotypical views about women. I argue that Kiffe kiffe demain challenges popular stereotypes and portrays a more nuanced image of the banlieue and its gendered practices. In the novel, the banlieue clearly does not evoke a sense of non-place, but rather holds personal and emotional values and meanings for the characters. The perspective of a young girl, ordinary experiences of everyday life, and a sense of community play an important role in constructing a rich image of the banlieue. Keywords banlieue, everyday life, Faïza Guène, non-place, placelessness, sense of community, women My focus in this article is on the portrayal of the female experience of the banlieue in Faïza Guène's Kiffe kiffe demain (2004), which describes daily life in a Parisian banlieue from the point of view of a 15-year-old girl with a Moroccan immigrant background. I show how the novel constructs the female experience of the banlieue, challenges the traditional perception of it, and provides new, more diverse insights into it.In contemporary French debate, the banlieues are usually seen as problematic sites (Bouamama, ). They are regarded as isolated locations of social, cultural and economic exclusion, where people feel alienated. While some scholars have seen the young and dynamic population and cultural diversity of the banlieues

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Voice-over and sharing bodies in Alice Diop’s Vers la tendresse (2016)

Fokaidis

2022

Contemporary French Civilization

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Films in French have long been global in scope, and debates around the nomenclature used to describe these cinematic works have emerged as a means to acknowledge the power imbalance invoked by categorizations such as French and francophone. Cinéma-monde serves as an organizing principle to articulate the relationships between films and the French-speaking world without reinforcing spatial and linguistic boundaries by way of a center/periphery paradigm. This article addresses the implications of the cinéma-monde framework within the Hexagon to illustrate the representational modes of diffusing marginality in cinema made in France. This article offers a close reading of a scene from Alice Diop’s documentary Vers la tendresse (2016) that mobilizes what Mary Ann Doane calls a disembodied voice-over in combination with camera movement to create an open cinematic space which disjoins the internal experiences expressed by the voice-over from the outward appearances of the characters. Diop assembles a fictional mise-en-scène and recordings of male interviewees speaking at a workshop held in Seine-Saint-Denis on the subject of intimacy. As the camera pans slowly across a group of men, it is unclear which body is the visual representation of the narration. Calling upon Michel Chion’s audiovisual contract and its rupture in Vers la tendresse, this article addresses how a dissonance between image and sound permits one voice to accompany several different bodies, an effect that reveals and dismantles the building blocks of the narrator’s isolation. Viewed through the framework of cinémamonde and its decentering approaches, Vers la tendresse underscores the flexibility of the film space and, consequently, social boundaries, to shed light on how we intentionally or unintentionally constitute others in society.

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‘Bouger pour voir les immeubles’:Jeunesse dorée(2001),L'année suivante(2006) and the Creative Mobility of Women'sBanlieueCinema

Cited by 3 publications

References 16 publications

Crossing borders and queering identities in French-language European road cinema

Crossing borders and queering identities in French-language European road cinema

Redefining stereotypes: The banlieue and female experience in Faïza Guène’s Kiffe kiffe demain

Voice-over and sharing bodies in Alice Diop’s Vers la tendresse (2016)

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