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UCLA - FRNCH 41 - week 10 - Class Notes

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UCLA - FRNCH 41 - week 10 - Class Notes

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background image Week 6  La Haine  New terms  Diegetic sound is any sound that the character or characters on screen can hear. Example: The 
sounds of the characters speaking, the records flying, and the zombies 
Non-diegetic sound is any sound that the audience can hear but the characters on screen cannot. 
Example: the beats and riffs of the background music 
A  sound  bridge*  is  a  type  of  sound  editing  that  occurs  when  sound  carries  over  a  visual 
transition  in  a  film.music  might  continue  through  a  scene  change  or  throughout  and  montage 
sequence  to  tie  the  scenes  together  in  a  creative  and  thematic  way. Another  form  of  a  sound 
bridge can help lead in or out of a scene, such as when dialogue or music occurs before or after 
the speaking character is scene by the audience. 
A  voice  over  is  a  sound  device  wherein  one  hears  the  voice  of  a  character  and/or  narrator 
speaking but the character in question is not speaking those words on screen. 
Intertextuality is the shaping of one text by other texts. “Any text is constructed of a mosaic of 
quotations;  any  text  is  the  absorption  and  transformation  of  another.”  We  may  note  that 
intertextuality is not plagiarism but a quotation. (c’est a moi que tu parles scene) 
The dolly zoom, also referred to as the Vertigo effect or a Zolly shot, is a technique wherein the 
camera is dollied either forward or backward while the zoom on the lens is pulled in the opposite 
direction. 
Racking focus refers to the practice of changing the focus of a lens such that an element in one 
plane of the image goes out of focus and an element at another plane in the image comes into 
focus. 
Deep focus is a style or technique of cinematography and staging with great depth of field, using 
relatively wide-angle lenses and small lens apertures to render in sharp focus near and distant 
planes simultaneously. A deep-focus shot includes foreground, middle-ground, and extreme-
background objects, all in focus
Lecture the banlieue tends to be associated with immigrants and working class people  
Beur: Refers to a person of North African descent living in France 
Vinc is white french jew 
Huber is a black french man  
said is a beur figure from north africa  
la haine is a work of banlieue cinema because mathieu cassevit is not a beur,  
La Haine’s “reality effects”:  1. Abdel’s story who we never meet   narrative “reality effects” (verisimilitude) plausible it could happen in reality  
background image formal “reality effects” (mise-en-scène that recalls archival/newsreel footage) 
the film sets in up to be true, real news footage, the way Abel’s story is 
handled through mise en scene it always appears in news broadcast which 
makes it authentic;  
beur character; he is a comma, in 1995 it was a story that you would see 
several times in the news  
2.    Use of actual footage from earlier episodes of urban unrest    (first images  of film: “Assassins!”);   3.   Neo-realist aesthetics (black and white); it looks at Italian neorealist film;   Cow scene was not logical; it was surrealist;  
the film is deeply embedded in its context 
Major episodes of social unrest in France 
(links with La Haine, before and after) 
1993, death of Makomé M’Bowlé  - 17years old originally from Zaire  - Arrested for stealing cigarettes and detained for questioning   - Accidentally killed by an officer while chained to a radiator  - Peaceful protest sets of waves of violence in paris   2005, deaths of Bouna Traoré et Zyed Benna  - both of immigrant background   - ran from police to avoid being arrested  - electrocuted in power station in clichy-sous-Bois   - deaths touched off a series of national riots, 9000 cars burned, 2000 people arrested, 2 people 
killed  
Said's parents came from somewhere in north africa  
banlieue of france- no go zones 
1981- Francois mitteran was elected, first socialist (interested in social issues, tend to be good for 
little guys);  
inequality with jobs: depends on adresses, if you are from the banlieue, your cv goes to the trash, 
when you are from central paris, they hire you  
opening scene is jam-packed, real altercations between authority and anarchy, anecdote, voice of 
god, voice off, vision of globe that appears on a black screen, bomb is thrown in the viewer’s 
background image side, music - reggae, reggae is a music routed in subversion, comes out of music of violence, 
certain type of opression, anti colonial music;  
landing is more important than the fall  
transition from archival footage to news footage, real footage to fictional newscast  
looks exactly like newscast, it is fake, part of the fiction, looks like real footage  
Parallel established between France and the world in opening sequence  - the world is kind of sandwiched between images of banlieue violence and the redoing of 
combat  
- map are symbols of power and knowledge, type of domination of people   - the film is interested in media popculture television and advertising (bathroom footage during 
anecdote of brunwalsky) 
- en of Heineken is missing, the n sounds like la Haine, this is a moment that there is no haine 
and hatred in the film  
- portrait robot - police sketch for a thirst killer, hubert signifies it;   - time is ambivalent in the film   - Their time is numbered - as time passes their life, their days and time are numbered; digital 
readout; bomb thrower at the world at the beginning of the film, regularity and structure of 
time, analog clock sounds like a ticking bomb,  
- the world is yours, le monde est a vous, irony, said notices and crosses the v to an N, 
empowerment; theme of world in the film, he is inscribing himself in the colonized world  
- the film valorises banlieue culture,   role of anecdotes in the film  - said loves to tell stories but he is bad at this  - Vine always knows the story said is telling  - Brunwalsky anecdote - mirrors in the scene, you can arrange them all unless you are shooting 
them all into the mirror  
- “hate brings hate”   - Forshadows Vinc’s death and brings the question of capability  - to shit - faire chier, to piss somebody off, pun in the guy’s story,   - Vinc  represents post hollocaust Europe; he is the one who encounters a different fate to 
brunwalsky  
Inter- textuality and virtuosity or citation: 
“c’est a moi que tu parles”  
- Death of vinc has to do with his Judaism; vinc character represents the avatar of cassovist; the 
death of Vinc is a way of killing the author,  
background image - he is the white guy so he escapes from this   - Intertuaxility is when one text represents or references another book; when he goes to the 
movie theater to watch a movie which was identifiable;  
- there is no mirror at all and there are two different actors, Vincent is on the other side and 
there is one guy who has the same corpulence as him, they coordinate their movements so the 
camera can give us the impression that we are watching it from the mirror, the camera is 
filming him straight down: virtuosity and intertextuality  
- dolly zoom or vertigo shot - background and foreground are destabilized, used to give us the 
creeps, unsettling existential way, dollying out while zooming in;  
Reading of Amy Siciliano  - 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 
- The film speaks to both the suburbanization of poverty and racialization of the suburbs in 
France through a postmodern fragmentary aesthetic to ‘shock’ as Walter Benjamin ([1936] 
2005) might say, its viewers into insight. 
- Space plays a big role  - ‘banlieue youth’ to become synonymous with crime, poverty and arrested social development.  - The youth have become ‘symptoms’ of a nation in crisis, not only out of the forces of 
racialization, but also because of their ‘cultural otherness’: marginalized as residents of a 
Parisian banlieue. 
- But the multiethnic Parisian banlieues have increasingly become a space from which French 
cinema has consciously challenged hegemonic representations of ‘Frenchness’ (understood as 
white, metropolitan, and middle class) (Tarr, 1997), and La Haine became only one of many 
films emerging from the banlieues, giving cultural expression to a side of France not readily 
visible. 
- Most ‘banlieue’ films share a common theme of a ‘journey’ between the banlieue and the city 
– often plagued with difficulty and dwelling on an acute socio-spatial divide, by way of plot 
lines and other cinematic techniques. They also attempt to interrogate universalist notions of 
citizenship, showing how this concept on which the French Republic was constructed, has for 
many of the ‘urban outcasts’, become little more than an empty signifier.  
- ‘Youth’ are publicly held responsible for the decaying physical and social state of the 
banlieues – the singular cause of insecurity (1993a) 
- The intersection between time and space plays an essential role through both narrative and 
style, traversing the realm of the future, and historicizing the sphere of the present. 
- opening of the film is to connect these acts of resistance and rebellion to wider post-colonial 
struggles against racist state terror and social injustice 
- The multi-ethnic image of these youth projects the reality of the ‘new’ France, cleverly 
subverting bleu-blanc-rouge, for black-blanc-beur  
- Black-blanc- beur is an essential part of the film’s imagery disrupting the ideology of 
‘solidarité’ – an ideology vital to the formation of French nationalism 

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School: University of California - Los Angeles
Department: French
Course: French Cinema and Culture
Professor: Chirila
Term: Fall 2018
Tags:
Name: week 10
Description: notes from week 10 and other weeks
Uploaded: 12/09/2018
15 Pages 105 Views 84 Unlocks
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