French Cinema and the Integration of Young Women Actors of Maghrebi Heritage

2015 ◽  
Vol 54 (3) ◽  
pp. 297-311 ◽  
Author(s):  
Carrie Tarr
Keyword(s):  
Young Women ◽  
Film Industry ◽  
Young Female ◽  
Turn Of The Century ◽  
French Cinema ◽  
French Film ◽  
Career Trajectories ◽  
Award Winning

Since the turn of the century, three young female actors of Maghrebi heritage have achieved the award of Most Promising Newcomer (Meilleur espoir féminin) at the French film industry's annual César ceremonies: Rachida Krim in 2002 for her performance in Coline Serreau's Chaos (2001), Hafsia Herzi in 2008 for her performance in Abdellatif Kechiche's La Graine et le mulet/Couscous (2007), and Leïla Bekhti in 2011 for her performance in Tout ce qui brille/All That Glitters (2010), directed by Géraldine Nakache and Hervé Mimran. On the assumption that this award may be indicative of the growing visibility of Maghrebi-French female actors at the centre of the French film industry, this article traces the career trajectories of these three actors and their contribution to representations of gender, ethnicity and identity in contemporary multi-ethnic postcolonial France from their award-winning roles through to their most recent performances, both in France and in a transnational context.

scholarly journals The evolution of European stunt art (50–70s of the twentieth century)

2021 ◽  
Author(s):  
Nazar Mayboroda
Keyword(s):  
Film Industry ◽  
Professional Activity ◽  
French Cinema ◽  
Scientific Methods ◽  
Russian Art ◽  
Professional Activities ◽  
French Film ◽  
Complex Process ◽  
Before And After ◽  
General Scientific

The purpose of the article is to identify the specifics of the formation and development of stunt art in French cinema of the 1950-1970s; analyze the contribution to the process of formation in the European film industry stunt as a profession of French actors and performers of film stunts. Methodology. The scientific provisions of the article are reasoned at the level of the totality of general scientific methods of cognition and approaches of modern art history. The historical, analytical and typological methods were applied, which contributed to determining the specifics of the professionalization process of stunt art in the French film industry in the 1950-1970s, as well as the typological features of cinema stunts of the leading French stuntmen; a method of comparative analysis (to identify the characteristic signs of stunt activities before and after professionalization) and other. Scientific novelty. For the first time in Russian art criticism, the process of development and professionalization of stunt art in European cinema of the 1950-1970s has been studied. on the example of the evolution of French historical stunt scenes (films “cloak and sword”), adventure and detective films; reviewed and analyzed the professional activities of C. Carlier, R. Julien, J. Delamard and other French stuntmen of this period; revealed the influence of American stunt performers, the specifics of the development of French stunt art, as well as characterized the evolution of stunt techniques, the use of existing ones and the development of new safety methods for their implementation. Conclusions. The content and nature of professional stunt activities in the context of cinematic art are non-static, since its dynamism is determined by the stunt status in the continuous qualification system. The stunt man is the stunt developer, stunt coordinator (stunt director), and the head of the stunt troupe. In the 50–70s. XX century in French cinema, a complex process of professionalization of stunt art took place, the motivation of which was the need to assimilate professional knowledge, skills, abilities, and expand the experience of professional activity. The specifics of the French movie stunts by C. Carlier, R. Julien, J. Delamard, and I. Cipher are manifested in originality, exposure to the viewer with a degree of risk, and a specially refined aesthetics.

Lion and Lambs

2013 ◽  
pp. 396-416
Author(s):  
Carol Donelan ◽  
Ronald Rodman
Keyword(s):  
Digital Media ◽  
Young Women ◽  
Film Industry ◽  
Young Female ◽  
Pop Music ◽  
Female Desire ◽  
Hollywood Film ◽  
Musical Scores ◽  
Women And Girls ◽  
Music Market

This article appears in the Oxford Handbook of Sound and Image in Digital Media edited by Carol Vernallis, Amy Herzog, and John Richardson. With the advent of the Twilight Saga, the teen vampire subgenre has sunk its teeth into the blockbuster film franchise. Its migration into big-budget corporate cinema prompts a negotiation between the Hollywood film industry and the D-quadrant audience of young women and girls. The industry, for its part, has agreed to adopt a protective rather than predatory stance, offering young female viewers a PG-13 fantasy rather than exposing them to representations of sexual violence that “go too far,” are too threatening or age-inappropriate. At the same time, the industry not only acknowledges the existence of female desire, but represents its darker, uncanny dimensions. Newly composed musical scores play a major role in facilitating the experience of the uncanny for viewers without overshooting their tastes and sensibilities. The pop music in the films serves to initiate the audience into the adult music market.

Not dead yet: Three takes on auteurism in contemporary French and Francophone cinema

2014 ◽  
Vol 25 (3-4) ◽  
pp. 396-407
Author(s):  
Alice Burgin ◽  
Andrew McGregor ◽  
Colin Nettelbeck
Keyword(s):  
Cold War ◽  
Film Industry ◽  
International Level ◽  
Global Order ◽  
French Cinema ◽  
French Film ◽  
Real Place ◽  
Colonial Empire ◽  
French Colonial ◽  
The Cold War

Sixty years have passed since the term une politique des auteurs was first coined by François Truffaut in the pages of Les Cahiers du cinéma. Initially an approach to filmmaking reacting against its own socio-political context, la politique evolved into something of an ideological celebration of the personal worldview of the artist, and became a dominant element in determining a new canon of cinéma d’art. Since the fall of the French colonial empire, the end of the Cold War and the rise of a vastly transformed global order, the French cinema industry, including many historians and critics, seems to have largely maintained the auteur-based model in terms of its funding and self-projection on both a national and an international level. But is that not an anomaly? What is the real place and meaning of the auteur paradigm within the context of a diverse and fractured Francophone world? This article provides three different perspectives regarding the critical purchase of la politique des auteurs within the contemporary postcolonial Francophone cinematic landscape. Through these perspectives, we argue that while the auteur paradigm can claim relevance within the confines of the Franco-French film industry, its wider applicability as a model for Francophone filmmaking raises pertinent questions about the continuing influence of the metropolitan centre on how minority identities are constructed and received.

scholarly journals Lives Interrupted: Navigating Hardship During COVID-19 Provides Lessons in Solidarity and Visibility for Mobile Young People in South Africa and Uganda

2021 ◽  
pp. 146499342199820
Author(s):  
Thembelihle Zuma ◽  
Rachel King ◽  
Nothando Ngwenya ◽  
Francis Xavier Kasujja ◽  
Natsayi Chimbindi ◽  
...  
Keyword(s):  
South Africa ◽  
Young People ◽  
Social Environment ◽  
Young Women ◽  
Sex Workers ◽  
Virtual World ◽  
Female Sex Workers ◽  
Young Female ◽  
Social Forces ◽  
Need Support

We examine data from young women and men in South Africa and young female sex workers in Uganda to explore the inequalities and hardships experienced during the COVID-19 pandemic and investigate the opportunities and ability presented to navigate in a virtual world to build an inclusive supportive future for young people on the move. We argue that against the backdrop of a fragile past, young people who see their today disturbed, tomorrow reshaped and their futures interrupted, need support to interact with their social environment and adjust their lives and expectations amidst the changing influences of social forces.

scholarly journals "You can never be on one side alone": Some Young Somali-Kiwi Women's Narratives about Identity, Resettlement and Community Development in Wellington, Aotearoa New Zealand

2021 ◽  
Author(s):  
◽  
Emily Kathryn James
Keyword(s):  
New Zealand ◽  
Young Women ◽  
Support Services ◽  
Qualitative Methodology ◽  
Young Female ◽  
Key Informants ◽  
Main Research ◽  
Individual Interviews ◽  
Somali Women ◽  
The Government

<p>This research investigates how young Somali women are navigating through the resettlement process while negotiating their own identities in Wellington, New Zealand. It is important as it addresses two main research gaps: 1) it focuses on research with young Somali women at university and 2) it offers a strength-based analysis. The research also addresses important development concerns about how former refugees can better contribute into their host societies. Employing the use of participatory methods within a feminist qualitative methodology, I created a project that enabled the young women to voice their opinions regarding identity construction, cultural maintenance and their goals for the future.  I conducted approximately 150 hours of ethnographic research at organisations that catered to former refugee needs. I found a young female Somali student who worked as my Cultural Advisor and enhanced my credibility and access within the Somali community. I then conducted a focus group and five individual interviews with young Somali women to hear their narratives about their resettlement experience and their advice on how to improve the process for others. I conducted five interviews with key informants at organisations that provide support services for former refugees. The key informants gave the policy perspective on refugee resettlement as well as advice on how support services and the government can approve the transition for former refugees.  The results of this study revealed that the young women did feel tension at times negotiating their Somali culture and that of their host society but found benefits in both. The importance of the family resettling successfully was vital for the young women especially the wellbeing of their mothers and other female elders. The key informants echoed these sentiments and voiced the necessity for more women-focused support services. The young women also will be facing a second resettlement process through their emigration to Australia as they search for more job opportunities and a better Somali cultural connection.</p>

scholarly journals The Characteristics of Risk Factors in Chinese Young Women with Acute Coronary Syndrome

2020 ◽  
Author(s):  
Ruifang Liu ◽  
Fangxing Xu ◽  
Yujie Zhou ◽  
Tongku Liu
Keyword(s):  
Risk Factors ◽  
Family History ◽  
Young Women ◽  
Early Onset ◽  
Young Female ◽  
Cardiac Insufficiency ◽  
Control Group ◽  
Significant Difference ◽  
Gynecological Diseases ◽  
History Of

Abstract Background In recent years, the prevalence rate of ACS in Chinese young women has been increasing significantly, becoming the main cause of death in young female. This study aimed to investigate the characteristics and difference of risk factors in Chinese young women with ACS and to provide references for ACS prevention and treatment. Methods A 1:1 case-control study was conducted to evaluate risk factors of 415 young female patients with ACS (ACS group) who underwent PCI treatment and 415 young female cases without ACS (control group) who were hospitalized and confirmed by coronary angiography to exclude coronary heart disease from January 2010 to August 2016. The average age of the cases in the two groups was respectively (40.77±4.02) years-old and (40.57±4.01) years-old (P> 0.05). Results The risk factors in ACS group were overweight (64.10%), hypertension (49.88%), hyperlipidemia (35.66%), diabetes (23.37%), depression or anxiety disorder (16.62%), gynecological diseases (16.39%), Hyperuricemia (15.18%), family history of early onset coronary heart disease (14.94%), hyperhomocysteinemia (11.33%), hypothyroidism(14.96%), hypercholesterolemia (8.43%) and high c-reactive protein (7.47%), and were statistically significant difference (P<0.01) compared with that of control group. The average number of risk factors per case in ACS group was significantly more than that of control groups (P<0.01). There was a statistically significant difference in the number of combined risk factors of the overweight cases compared between two groups (P<0.01). Regression analysis showed that hyperlipidemia, hyperhomocysteinemia, overweight（obesity）, high CRP, hypertension, hypothyroidism, gynecological diseases, depression or anxiety, cardiac insufficiency, hypercholesterolemia, diabetes, oral contraceptives, family history of early onset CHD, and autoimmune diseases were independent risk factors (P<0.01). The bivariate correlation analysis between CRP level and age was r= -0.158 (P<0.01). This result showed the younger ACS patient is the higher serum CRP. Conclusion The independent risk factors of ACS in young women are hyperlipidemia, hyperhomocysteinemia, overweight, high CRP, hypertension, hypothyroidism, gynecological diseases, depression or anxiety, cardiac insufficiency, hypercholesterolemia, diabetes, oral contraceptives, family history of early onset CHD, and autoimmune diseases. The co-existence of multiple risk factors is the main cause suffering from ACS in young women.

scholarly journals Les Midinettes Révolutionnaires

2017 ◽  
Vol 3 (4) ◽  
pp. 162-194 ◽  
Author(s):  
Annie Fee
Keyword(s):  
Working Class ◽  
Young Women ◽  
Social Practice ◽  
Historical Study ◽  
Film Culture ◽  
Archival Material ◽  
French Film ◽  
Social Activists ◽  
The Social ◽  
Fan Letters

In their quest for official and cultural recognition, French First Wave critics such as Louis Delluc discursively positioned the working-class female cinemagoer as emblematic of the sorry state of unsophisticated French film audiences. From this discourse came the stereotype of the starry-eyed midinette, which is still used by French film critics to describe lowbrow film taste and an overly emotional mode of spectatorship. This essay attempts to reconstruct the social practice of cinemagoing among the midinettes of 1920s working-class Paris by focusing on the female fans of the serial Les deux gamines (1921). Both a critique of intellectual cinephilia as a cultural discourse and a geographically specific retrieval of the multiple ways in which socioeconomically and culturally marginalized audiences interacted with the cinema, this historical study repositions young women from working-class neighborhoods as key actors in film culture—fans, but also social activists. Through a study of disparate, unpublished archival material, including fan letters, film programs, and announcements in the leftist press, this essay attends to the social realities of a number of female film fans in Montmartre and grounds their spectatorship spatially within their local communities.

In and out of Othello

2021 ◽  
Vol 5 (1) ◽  
pp. 137-148 ◽  
Author(s):  
Poonam Trivedi
Keyword(s):  
Public Sphere ◽  
Film Industry ◽  
The State ◽  
Self Determination ◽  
Politics Of Identity ◽  
The Public ◽  
Award Winning ◽  
The Public Sphere ◽  
Indian Adaptation

Othello has been the play that seems to speak to current issues of racism and sexism for the last couple of decades. Recent Indian productions have stretched its relevancies further, particularly addressing the politics of identity, of individual and state, of belonging and othering. The 2014 award-winning Assamiya film Othello (We Too Have Our Othellos) appropriates and radicalizes the main concerns of the play to embody and critique the movements for self-determination that continue to rage in the state. The article examines this unusual Indian adaptation of Shakespeare that locates the play directly within the public sphere of the politics of the state through its singular focus on Othello as an ‘outsider’ figure paralleled by other such figures of contemporary Assamese society. It will contextualize the discussion of this film, its production and positioning within the film industry of Assam and attempt to define the nature of its adaptation. It will also glance at its similarities with the earlier film In Othello (2003), which too connected Shakespeare and Assam to illustrate the volatile configurations of the outsider/insider status in contemporary India.

The Career of Actress Hafsia Herzi: Crossing Borders, Challenging Barriers

Cinéma-monde ◽  
2018 ◽  
Author(s):  
Leslie Kealhofer-Kemp
Keyword(s):  
Film Industry ◽  
Global Dimension ◽  
French Film ◽  
Feature Films ◽  
International Attention

In 2007, Hafsia Herzi broke into the French film industry and gained international attention with her performance in Abdellatif Kechiche’sLa Graine et le mulet/The Secret of the Grain. Since then, Herzi has appeared in more than twenty feature films, and her projects and creative path reflect an overarching desire for mobility and diversity, including a notable global dimension. Consideration of Herzi’s professional trajectory as an example of a specific cinéma-monde path within the French film industry provides a productive way to think about these unique aspects of her career and sheds light on how global film roles (and the actress’s ability to speak French, English, and different dialects of Arabic) have enabled her to overcome the limitations of roles offered to her as a Maghrebi-French actress in France.

Idolatrous Reading

2015 ◽  
Vol 70 (2) ◽  
pp. 238-266 ◽  
Author(s):  
Timothy L. Carens
Keyword(s):  
Nineteenth Century ◽  
Middle Class ◽  
Significant Role ◽  
Young Women ◽  
Young Female ◽  
Mary Elizabeth Braddon ◽  
Unhealthy Food ◽  
Female Subjectivity ◽  
Domestic Ideology ◽  
Patriarchal Culture

Timothy L. Carens, “Idolatrous Reading: Subversive Fantasy and Domestic Ideology” (pp. 238–266) In nineteenth-century Britain, patriarchal culture revealed its anxieties about female subjectivity and anxiety through an extensive debate about what young women should read. As critics have already shown, many writers in the period disparaged romantic novels by comparing them to unhealthy food, addictive drugs, or even illicit sexual encounters. The figure of idolatry played a significant role in this debate as well, suggesting that young female readers might betray the true god of the middle-class patriarchal order by worshiping more gratifying alternatives. If the language of idolatry generally connoted heretical transgression, emergent feminist writers such as Mary Elizabeth Braddon found that they could also use it to articulate a woman’s longing for the power to shape her own dreams. In Braddon’s The Doctor’s Wife (1864), a figure used to disparage women who neglect their role within the domestic order thus acquires a new and intensely ironic life as a way to imagine an escape from it.

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