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
...ome to us at an interesting time, before the Revolution, 40 percent of Tehran movie theaters were showing pornography. The function of this office is purification as well as promotion for the arts.” The first part notions the Western stereotype of the Orient since the same as the time when it was discovered, but now the people of the Orient realize the stereotypes and are changing the way they see themselves because of these stereotypes. It is only by correcting these assumptions, stereotypes, and misconceptions of the Orient at the heart of society today, the media can Orientalism be fixed. The Eastern people must be allowed to sympathize in movies and films to humanize them and have intimate interactions. Otherwise, the Orient will be continued to be known incorrectly as a place with people who are without reason, screaming, protesting, and in swarming mobs.
Initially popularized during the French Revolution, the term “terrorism,” at its inception, was a distinctly positive word; from the rubble of the first revolts in 1789, stemmed the regime de la terreur, an instrument of governance meant to further propel the success of the revolutionaries through the intimidation of those loyal to the dictatorial regime which governed France for much of the eighteenth century (Hoffman 3). Ironically, given the modern interpretation of terrorism, the revolutionaries who would ultimately constitute the regime de la terreur were advocating for virtue and democracy––in fact, one of the figureheads of the revolutionary movement Maximilien Robespierre was renowned for having said: “virtue, without which terror is
... of the French quarters and the poverty of the Casbah in the previous sequence, between the European youths and Ali La Pointe, visually justifies Ali’s rebelliousness.
One can gather that socialism was on the rise and supported by many of the working class. From the co-op in The Crime of Monsieur Lange to the Communist party’s support of Madame Nozière, public opinion was shifting away from supporting a patriarchal society. What was once taboo became more popular topics of discussion, such as the pornography in Baptiste’s possession, Estelle’s miscarriage of Batala’s child, fathers taking their daughters’ innocence, and ousting men of unnecessary power. A film, while not necessarily factual, focuses on culture and values. Cinema is an art form that reflects what the directors and actors, and by extension, the general public, believe.
On September 11, 2001, since the terrorist attacks, many American Muslims have been stereotyped negatively in the United States. Salma, a Muslim woman, says that the way Muslims have been recognized in the media has played a big role in the antagonisms directed to her. “I don’t know how many time I heard my classmates accuse me of being al-Qaeda or a terrorist” (Mayton 2013). Salma, along with other Muslims, even after a decade, are still struggling with trying to find their “American” and “Islamic” identities, while facing verbal attacks for their ethnicity. Too often, the general Muslin population gets lumped in with the immoral acts of a few because of the lack of knowledge about their culture.
The last decade has brought two blatant changes to American civilizations in particular and Western civilizations in general. The first is a greater concern about Islam and Muslims, and the second is a much highly visibility of Muslims within those civilizations. Numerous people may have imagined that there weren’t many Muslims living in their communities until recently, but now, one can see visibly Muslim persons often in their veils or robes, walking the streets, shopping in the cities, and going to the schools (Saeed, 2007). There is no doubt that the increased visibility of Muslims has been a matter of some interest (allen,2010). The French have banned people wearing markers of Muslim religion, such as the hijab and niqab, in public, and many Americans have protested against mosques and other expressions of the religion. In addition, numerous Westerners have a stereotyped image of Muslim visibility, for instance, assuming that all Muslim females wear the same style and color, of garb (Ameli & Merali, 2004) Many Westerners associate the visibility of Muslims with non-Western and anti-Western culture and beliefs, including the oppression of women, and therefore hold a very negative attitude and view toward it and them (Briggs, Fieschi, & Lownsbrough, 2006).
The purpose of the film The Intouchables was to ease certain racial and religious relationships, mainly in France. With the previous colonization of many African countries- including Senegal, where Driss was born- whose inhabitants are mostly Muslim, there is often a rift between the Muslims of France and the Christians of France. The film gives the outstanding message that things such as race, religion, and class do not matter when it comes to a friendship and how you treat another human
In the first scene we observe a Muslim man inside a firearm store, attempting to buy a gun. The owner is a white Caucasian male that presents a negative attitude towards the customer because of his Muslim background. This feeling triggers in the owner, negative attitudes based on the assimilation and stereotypes with the Muslim race. Being immediately associated with the Al Qaeda terrorist group, which was responsible for suicidal bombers that have killed thousand of Americans.
Fatou Diome’s first novel, The Belly of the Atlantic, tells the coming-of-age of a young Senegalese female living in Strasbourg after she emigrated from the island of Niodior. Reflective of the author’s own life, the fictionalized narrative recounts the experiences of Salie. After growing up in a community in which strict traditions require women to submit to men, at a young age Salie decides she will educate herself although not enrolled in school. The schoolteacher Ndétare quickly discovers her academic and motivational abilities and decides to guide her through her education. Later, Salie moves to France and she is progressively shun out by her family, except by her brother Madické who is constantly seeking to go to France to play soccer professionally. Salie is quickly overcome by the lack of identity her immigration has caused her. She is constrained between both Europe and Africa, which she can’t call home. Through this disconnectedness the narrator suffers, and Salie’s identity progressively becomes that of exile. How, then, does the novel illustrate the degrading identity of the narrator trapped between two worlds?
A simple kids movie that might have created a dilemma over how Arabs live and how their culture actually is. In this essay the several flows found in the movie will be pointed out and debunked due to its unrealistic approach to
The article for this week chapter 5 “Building Identity: Socialization” is titled “Women’s Emergence as Terrorists in France Points to Shift in ISIS Gender Roles”. Throughout Paris there has been several attacks on significant monuments, causing people around the world to go in a panic attack (Breeden and Rubin 2016). Behind the recent most deadly attacks, were at the face of women. For
In the French film entitled Lumumba, director Raoul Peck recreates the revolutionary struggle of Patrice Lumumba, the newly elected Prime Minister of The Congolese Republic. In the movie, we do not see much of the independence struggle against the Belgian government, but we begin to see the reconstruction of the African state in African hands. While no one ever claimed that decolonization was easy, maybe this particular example can best be explained by Fanon’s simplified little quip “decolonization is always a violent phenomenon. ” In this paper, I will seek to locate where this post-colonial violence is located in discourses regarding race, class and gender. Particularly, I will look at the representations of race and class, and the lack of the representation of gender, in order to draw conclusions about the nature of representation and the effects this has on anti-colonial film.
Although the negative portrayal of Arabs and Muslims have exceeded the normal and caused a huge deterioration for the image of Islam, the American media continue to cross lines including discussing Islamic taboos. According to Kozlovic (2007), Hollywood produced the movie “The Message” portraying the prophet Muhammed (PBUH), which found more welcoming in the West than in Islamic countries due to Islamic taboos. Even though the movie tackled a sensitive issue of incarnating an Islamic prophet, it did not face any academic or religious criticism from the west rather all comments were dedicated to the quality of production and cinematographic
Islamophobia has become a new topic of interest among social sciences, political leaders and media commentators. People amongst society have developed this phobia towards Islamic religion and people. It has become a novel “form of racism in Europe and American based on discrimination ...
There are billions of movies around the world whether it involves comedy, horror, drama, action etc. There are also many movies that include different races and cultures such as Italians, Greeks, Britain’s, Africans Americans, Arabs and so many more. What I will be focusing on is how Arabs are portrayed in movies. Many movies that are encountered around the world which include Arabs are very informative, interesting and rich in history. What I will be writing in this paper is how Arabs are portrayed in “You Don’t Mess With The Zohan” and analyzing is as well. A famous actor named Adam Sandler was the main character in this movie in which he also produced this comedy genre movie. Even though this movie didn’t get the best ratings, reviews and it was stereotypical in a way, however, I liked it because of the fact that it involves Israel’s and Palestinians and since I am a Palestinian, I was interested in watching this movie, even if it upset me because it reminded of what is currently going in Palestine now and the fact that they tried to make Zohan look like an angel in this movie. However, Palestine and Israeli has been an issue for thousands of years and this movie touches some base on it. So I will be giving a description of this film, my opinion on it and some history that involves this film about the Palestinians and Israel’s.