La Désintégration Analysis

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Far from rationalizing terrorism, the aim of this paper is to analyze the fear of the terrorist rather than the society’s fear of the terrorist. Medias portray terrorist as an angry irrational heartless individual that just betrays Islam to create death around him. However, his anger hides something deeper such as fear. Films such as Pour L’amour de Dieu (2006), Hadewijch (2009) or Voyage sans retour (2013) represent a new type of narratives about how French Muslims negotiate their identity. The corpus explores a more diverse range of ways of ‘being Muslim’ in contemporary France, giving more noticeable expression to Islam as collective, communal belief and practice, for example showing scenes of group prayers, but also showing how the Muslim…show more content…
The intention is laudable, but sometimes struggles to materialise on screen. The director imagines the frame as an open window on the unease surrounding North African integration in present-day France. Open, because there is no filter, the image jumps out at us from a raw camera, as if the slightest aesthetic aspect would have betrayed the authenticity by puncturing its gravity. Between the difficulty in finding a job, racism and the stigmatisation of the other, the story moves quickly from the cause to the effect, namely disintegration, in the literal and figurative sense to point out just one metaphor among others in the film. “He who imitates a people belongs to them”, preaches Djamel in order to transform the anger of his flock towards society into a duty for marginalisation. This type of message gives food for…show more content…
Tarr analyses the representation of Islam in a corpus of films made since 2006 that focus on the changing identities of Muslims in contemporary France. She states that “protagonists’ negotiates their Muslim identities in a French context and, by implication, the films may be arguing for the integration of Islam as a legitimate referent of French identity. However, their construction of Islam does not extend to positive representations (…), and the films thus still risk confirming the oppressive majority view that certain practices associated with Islam, are incompatible with the secularism of the French Republic”. Tarr also analyzes how males of Maghrebi descent, through their sense of exclusion, develop an anger and frustration that exposes mainly violence-oriented male characters in cinema de banlieue. Those films are made by white filmmakers, while beur filmmakers use comedy but both show beur actors’ lack of agency in the world. Alec Hargreaves talks about maghrebi-french filmmakers, mentioning that their success goes beyond their background. Michel Cadé wrote on the role of Islam in francophone cinema and argues that “French cinema has had little interest in portraying Islam” and “reference to Islam were neglected perhaps in an effort not to alienate spectators”. However, he also mentions that some movies shed light “on the attachment

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