By Ginette Vincendeau
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Additional info for La Haine (Cine-file French Film Guides)
At this aspect we pay attention a couple of clunking noises and have an understanding of it's the sound of empty cans and small rocks which are being thrown in our path. not anything extra violent than that, however the hostility is obvious. We fast circulation away; they pursue us for it slow after which disappear. We beat a hasty and just a little shamefaced retreat to the station. i feel of Hubert within the movie asserting to the tv reporter: ‘This isn't Thoiry’ (the recognized safari park). He and the youth that afternoon are correct. For, whereas there's not anything inherently fallacious in capturing, those youths didn't mistake our purpose. We had come to watch them and their habitat with our far-off, realized and privileged gaze, our gesture reinforcing their deprivation. clearly, the movie had performed an element during this strategy. We observed in bankruptcy three of this e-book the ambivalent perspective of the folk of Chanteloup-les-Vignes, in addition to different banlieues to l. a. Haine, which has immortalised the place they dwell as an area of violence, drug-dealing and poverty, in a gesture instantly well-intentioned and slim, insightful and patronising, turning their residing area right into a spectacle they simply partly understand. however the stopover at additionally threw again at me the irretrievable distance among my heritage as a working-class lady cited in a working-class cité – and what i've got turn into, a middle-class educational (and ‘English’ to boot). commonly, i love to imagine that I shuttle conveniently among those areas, and typically I do. again in Villepinte the binds of behavior, stories and the kin dynamic slot me again into my ‘old’ habitus. however the category hole introduces underlying tensions that sometimes resurface. The stopover at to Chanteloup-les-Vignes not directly made those come to the skin, whereas they APPENDIX three: MY stopover at TO CHANTELOUP-LES-VIGNES 113 at the same time introduced domestic to me the space among l. a. Courneuve within the Nineteen Sixties and Chanteloup-les-Vignes within the past due Nineties. It additionally confirmed that Mathieu Kassovitz didn't exaggerate the gulf that lies among the cité of l. a. Haine and the Parisian urban centre, forty five mins and but a global away. Appendix four: Filmographies and awards Mathieu Kassovitz (born 1967): filmography as director 1990, Fierrot le pou [short]; Peuples du monde [music video for ‘Tonton David’]; 1991, Cauchemar blanc [short]; 1992, Assassins [short]; 1993, Métisse/Café au lait; 1995, los angeles Haine/Hate; 1997, Assassin(s), Lumières sur un bloodbath [short, a part of anti-landmine film]; 2000, Les Rivières pourpres/Crimson Rivers; 2001, advertisement for Le Printemps division shop; Y’a [music video for ‘Sayan Supa Crew’]; 2003, Gothika; 2004 Babylon infants [in construction at time of writing]; advertisements for the Sociéte Nationale des Chemins de fer Français (the French railway corporation) as well as his position as director, Mathieu Kassovitz has labored as author or cowriter, editor, assistant director and manufacturer on a couple of his personal movies, in addition to movies through different administrators. He additionally has a major filmography as an actor, with prime roles particularly in Regarde les hommes tomber (Jacques Audiard, 1993); Métisse (Kassovitz, 1994); Un héros très discret (Jacques Audiard, 1996), Assassin(s) (Kassovitz, 1997); Le Fabuleux destin d’Amélie Poulain (Jean-Pierre Jeunet, 2001) and Amen (Constantin Costa-Gavras, 2002).