one of the articles by Mathieu and Motta (2001), a banlieue community. Enjoy lasting quality, supreme comfort & the perfect fit. To do so, I analyze the film La Haine (1995), written and directed by Mathieu. 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. Shop Gymshark mens & womens gym clothing, exclusively online. 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.
Elle peut conduire à des comportements ou des actes malveillants, voire à commettre des assassinats. 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. La haine est un sentiment personnel de détestation, dhostilit é ou dexécration très forte à légard de quelque chose ou de quelquun 1. 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.