Beur Cinema

Bu makale Mathiew Kassovitz’in yonetmenligini ustlendigi La Haine (1995) adli filmi Bakhtin’in “heteroglossia” kavrami ozelinde analiz etmektedir . Avrupa’yi sarsmaya devam eden multeci krizinin, yukselen islamofobinin ve yabanci dusmanliginin golgesinde film guncelligini, dolayisiyla sosyal ve politik onemini korumaktadir. Film, temasi ve merkezi karakterleri itibariyle, “diyasporik sinema”, “beur sinema”, “banliyo sinemasi” ve “Fransiz sinemasi” gibi cesitli tanimlayici kategoriler icinde degerlendirilebilmektedir. Fakat calisma kapsaminda, Fransiz sinemasi ve banliyo sinemasi baglamsal cercevesi icinde, cok sesli, cok dilli bir anlati olarak ozellikle filmsel metnin kendisine odaklanilmaktadir. Bu dogrultuda, filmdeki karakterlerin ifadeleri ve bu ifadelerin sosyal ve kulturel yananlamlari/cagrisimlari baz alinarak, sanayi sonrasi ve somurgecilik sonrasi Fransa’sinda bu karakterlerin nasil birer “oteki” olarak cercevelendigi analiz edilmektedir. Yapilan detayli metin analizi, bu ...

This article evaluates the film La Haine (1995) directed by Mathieu Kassovitz with specific reference to the Bakhtinian concept of “heteroglossia”. The term addresses “language [as] perceived [and] stratified through and through into multiple social discourses each representing a specific ideological belief system” (Morris, 2003: p. 73).
The film is still socially and politically significant and relevant especially in relation to the refugee crisis, the increasing xenophobia and islamophobia that continue burdening Europe today. The film can be considered under the rubrics of diasporic cinema, beur cinema, banlieue cinema and French cinema based on its thematic concerns and
its central characters. This article, however, particularly focuses on the work itself as a heteroglot, polyglot utterance in the contexts of French film and banlieue film. Secondly, it analyses the framing of the characters as Others in the context of post-industrial, post-colonial France by focusing on their utterances and the social and cultural connotations of these utterances throughout the film. The close textual analysis reveals that there are several registers of heteroglossia detectable in this audio-visual narrative, underlying its multilayered character

This research means to trace the evolution of the cinematographic representation of the French population of Maghrebi origin and to put in perspective an analysis of Abdellatif Kechiche’s aesthetic and cinematographic processes.
This analysis traces the turning points that mark this evolution, from the starting point of the “migrant worker” as cinematographic figure, followed by the appropriation of their self-image on screen by first-generation Franco-Maghrebi youth and finishing with Abdellatif Kechiche’s cinema as syncretism of this movement.
An aesthetic analysis of a selection of films allows us to grasp the specificity of this movement, which began in the 1970s and asserted itself in the 1980s with the release of Mehdi Charef’s “Tea in the Harem” (“Le thé au harem d’Archimède”).  This allows us to question the notion of “Beur Cinema”, which was used to describe the Franco-Maghrebi directors who followed in Mehdi Charef’s footsteps.
The cinema of Abdellatif Kechiche is both a continuation of, and a departure from, this movement. This research highlights the artistic mechanisms at work in his oeuvre and initiates a reflection on the singularity of his writing, as well as on the establishment of a cinematography that questions French cinema’s ability to reproduce reality in its current polymorphous dimension