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Zusatztext Salman Rushdie beschreibt in diesen Aufzeichnungen die Eindrücke! die erbei einer Nicaragua-Reise im Sommer 1986 erhielt. Er beschränkt sich dabeikeineswegs auf politische und soziale Sachverhalte! sondern hat auch einwaches Auge für Naturschönheit! landestypische Eigenarten und unfreiwilligeKomik. Rushdie lernte Nicaragua zu einem Zeitpunkt kennen! zu dem! wieer meint! alles noch in der Schwebe war! das Land sich nicht am Anfang!aber auch nicht am Ende seiner Revolution befand! sondern mittendrin. Alsjemand! der in Indien geboren ist und seit Jahren in England lebt! ister in der Lage! das! was er in Nicaragua vorfindet! sowohl mit den Augendes Westens als auch mit denen des Ostens zu betrachten. Informationen zum Autor Carrie Tarr is Senior Research Fellow at Thames Valley University, London Klappentext Reframing difference is the first major study of two overlapping strands of contemporary French cinema, cinema beur (films by young directors of Maghrebi immigrant origin) and cinema de banlieue (films set in France's disadvantaged outer-city estates). Carrie Tarr's insightful account draws on a wide range of films, from directors such as Mehdi Charef, Mathieu Kassovitz and Djamel Bensalah. Her analyses compare the work of male and female, majority and minority film-makers, and emphasise the significance of authorship in the representation of gender and ethnicity. Foregrounding such issues as the quest for identity, the negotiation of space and the recourse to memory and history, she argues that these films challenge and reframe the symbolic spaces of French culture, addressing issues of ethnicity and difference which are central to today's debates about what it means to be French. This timely book is essential reading for anyone interested in the relationship between cinema and citizenship in a multicultural society. Zusammenfassung Introduction; 1. Questions of identity in beur cinema: From Le The au harem d'Archimede to Cheb; 2. Beurz in the hood: Le The au harem d'Archimede and Hexagone; 3. Ethnicity and identity in Mathieu Kassovitz's Metisse and La Haine; 4. Beur and banlieue cinema in 1995; 5. Inhaltsverzeichnis Introduction; 1. Questions of identity in beur cinema: From Le The au harem d'Archimede to Cheb; 2. Beurz in the hood: Le The au harem d'Archimede and Hexagone; 3. Ethnicity and identity in Mathieu Kassovitz's Metisse and La Haine; 4. Beur and banlieue cinema in 1995; 5. Beur women in the banlieue: Les Histoires d'amour finissent mal en general and Souviens-toi de moi; 6. Masculinity and exclusion in post-1995 beur and banlieue films; 7. Grrrls in the hood: Samia and La Squale; 8. Memories of immigration: Sous les pieds des femmes and Vivre au paradis; 9. Beurs in the provinces: From L'Honneur de ma famille to Drole de Felix; 10. Heroines of cross-cultural social protest: Marie-Line and Chaos; 11. Beur filmmaking in the new millennium: From Le Raid to Jeunesse doree; 12. Voices from the Maghreb: From Le The a la menthe to La Fille de Keltoum; Conclusion; Filmography; Bibliography; Index ...
