primarily the large housing estates on the outskirts of the major cities, has come to be associated with crime and violence perpetrated by ‘bad immigrant youth’. In the French and international public eye, the French ‘banlieue’, i.e. The close textual analysis reveals that there are several registers of heteroglossia detectable in this audio-visual narrative, Post-colonial France by focusing on their utterances and the social and cultural connotations of these utterances throughout the film. Secondly, it analyses the framing of the characters as Others in the context of post-industrial, Heteroglot, polyglot utterance in the contexts of French film and banlieue film. This article, however, particularly focuses on the work itself as a The film can be considered under the rubrics of diasporic cinema,īeur cinema, banlieue cinema and French cinema based on its thematic concerns and The refugee crisis, the increasing xenophobia and islamophobia that continue burdening Europe today. The film is still socially and politically significant and relevant especially in relation to “language perceived stratified through and through into multiple social discourses each representing a specific ideological belief system” (Morris, 2003: p. Specific reference to the Bakhtinian concept of “heteroglossia”.
This article evaluates the film La Haine (1995) directed by Mathieu Kassovitz with Finally, it reflects on the contribution this has for us, in organization studies, by opening new spaces for the study of organization (lives) not from positions of ‘above’ or ‘against’ but ‘with’ (Gergen, 2003: 454). The article concludes that despite their marginality and exclusion they are able to construct local diverse meaningful (organizational) identities that can represent them with dignity in their struggle for justice and basic human rights. the organization of the excluded, to engage with them in order to: give voice to those who dwell at the margins of organization studies make their narratives part of a subject that retains an elitist position and re-address the Eurocentric management/organization discourse that imposes a legitimate justification for exploiting, excluding and labelling them as organization-less and urban outcasts of society. The article employs the notion of kukiya-favela organization, i.e. South embodies the organizational struggle, survival skills and resilience of marginal and urban outcasts that inhabit inner cities, townships and slums. This article, based on ethnographic research conducted with people in Brazil and Zimbabwe, reports organization/management experiences and narratives of poor and marginalized people of the south. The film, through both content and form, exposes historical and emergent forces framing banlieues and youth, offering a critical reflection on the many levels of mediation between the film itself and the material conditions which gave rise to its production. I go on to examine La Haine's combined narrative style and cinematic form to argue that the film's attention to spatiality - or the social relations shaping the boundaries between the 'urban' and 'suburban' - explicitly confronts the hidden foundations of neo-racism in France. I then outline some of the key historical moments that transformed the banlieues from 'terra incognita' into the 'fractures at the end of the 20th century'.
I begin by situating La Haine alongside other 'banlieue films' that have challenged hegemonic conceptions of France's imagined geographic identity.
In this paper I consider how the film La Haine (1995) confronts this contemporary spatialized and historicized anxiety by critiquing assumptions behind such dominant representations. The Parisian banlieues, long absent from the dominant French imaginary, have materialized as spatialized, racialized markers of political-economic crisis, social fragmentation, crime and violence.
0 kommentar(er)
