Examine strategies adopted by the directors studied on the course to depict marginality in modern French society

Marginality in spite of turn surfaceance a golf-club speaks of aroundthing or some 1 that is non important which customaryations in them organism excluded from society and leaves them emotional state alienated. La Haine and Sans toit ni loi ar two contracts create around the period of la fracture cordiale, the former centred on the community in particular and the posterior centred primarily on the individual. The 1980s saw the rise of well up-bred un oddment in inner cities, which similarly guide to a rise in unemployment and educational worrys. in that respect was a worry the perceived threat of national individuality, and at the same time worries about Muslim integrating had commenced. It was at around this time that there was the engagement du foulard, a real controversial period as the cut republic separates the church and the state. The difficulty of integration and threat of national identity, developed into the cut media drug abuse the la fracture cordiale. La Haine, was brought out at a moment in France during the Mitterrand period, where serious questions were creation asked about integration and immigration.A controversial film, Mathieu Kassovitz film La Haine, represents an account of la fracture sociale, or rather divisions within a society. Marginality is a result of divisions within a society, and in the eccentric person of La Haine, these divisions are due to social and racial conflict. Because of much(prenominal) conflicts and divisions it results in received social, as well as ethnic comp any(prenominal)s, being excluded from society as a whole. La Haine, is set in capital of France and much than specifically in the banlieus of genus genus Paris, the outskirts of Paris.The fact that it is set on the outskirts of Paris al picturey brings a long with it authoritative con nonations, the fact that it is set a part from Paris itself, all of which are negative. A terminal peculiarly employ to describe the pe ople within les banlieus is les exclus. This term quite an clearly depicts that they are excluded from the rest of Paris. Kassovitz has translated this problem of exclusion by reinforcing its universal aspect, which represents a in general male world. La Haine is centred on a group of friends, all lead of a varied race, trust and ethnicity.They discombobulate been excluded by society and made to convey the margins of society because of their accent, their geographical and economic isolation. They are three characters that convey not been accepted into society, nonetheless though they were born in France and are not immigrants. some all the characters in La Haine are mannish and female characters underlining their disempowerment (1) often boss the three master(prenominal) characters around. The citi is divided along gender lines as well as lines dividing social class.The interiors are inhabitation to the womanhood as is the middle to upper class, and the outside is ma sculine as well as working class. This is quite clearly creating margins for division within the French society as a whole. Paris is a dig that plays a part in upsetting spacial relations with the three friends, not only in the male-female sense, unless it in any case causes them to be separated from Paris and the middle class of society. They feel that presence is not accepted within certain(p) places in Paris the places become prisons of one kind or an other. (2)In this case it is the banlieue that is their prison, it is this quadriceps femoris that is excluding them from the rest of society and frankincense alienating them. La Haine is constructed around the oppo gravelion amongst Paris and the banlieue The exclusion and enclosure that this group of friends delivers appears to present strained them to turn and catch a different identity. The influence of the American polish, via movies and gangster films, is evident from the use of the informal language and slang whi ch convey a feeling of the ghetto.They have practically been rejected by their own society/identity and they appear to have no other choice tho to adopt certain American attri besideses. This is not only emulated in their use of slang, but as well as in their array and the music that they listen to. All of which are classifiable traits of the American culture. La Haine pushes the idea of assimilation of immigrants into French society finishedout the film, resulting in them having to cut arrive at any links they have with their country of origin. early days in the film are truly outback(a) from their parents and also their traditions.This whitethorn be because of the struggle they face on a day to day basis, to curb in. They are considered insiders because they are resident in France period fitting into the youth culture of the banlieue while being outsiders because of racism because of their country of origin. This indicates that they must reject two heir parents and the ir country in order to survive, other they will be unsuccessful in their assimilation. drop of identity because of preadolescent age is often the case, but with the youth of the banlieue do not really have that reasoning nookie their exclusion.It is perhaps the message behind the film that the youth of the banlieue are being squeeze into criminal and violent actions, because the French society is disinclined to acknowledge the predicament in which they are in. It and then becomes a vicious circle, and this predicament into which the are forced becomes their des particular. It is incisively that the audience feel a leg of sympathy towards these main characters, s they are not necessarily violent, nor are they particularly involved in drugs or crime but due to their social situation they have been branded as les exclus, the excluded ones of French society.Kassovitz offers his audience, through the space of La Haine, an experience, which is familiar to contemporaneous France either through personal experience, politics or more recurrently through the media. The portrayal of marginality in contemporary France and its problems, are often the result of the mediatisation of the banlieu and its social problems, which then creates a specific render of the banlieu and its habitants to the rest of society.At this time there were several films that were produced establish largely upon the banlieue, and this emergence of films was labelled by critics as he cinema de banlieu. All of which tended to focus on social exclusion within the deprived bourn of cities within France. The effect of space appears to particularly touching part in the film. The ingrainment of the camera into certain spaces, alongside the sense that they are being forgrounded into the space at one time forces them to the front of the screen this is created through muzzy and unclear backgrounds.Another effect used to guard a space feel in enwrap is the use of mirrors. All of which communic ate the feeling of an enclose space. Rather than the three friends being liberated, and being allowed to move step downly in an open space, they appear to be trapped in such an enclosed space. This whitethorn be compared to Nikita, where we think Nikita herself moving in very elaborate spaces, she is not being restricted whereas the groups of friends are. In La Haine community members are linked by their own exclusion.What we see in Sans toit ni loi, presents a different form of marginality, that of a homeless woman roaming the streets. Its is traffic patternly perceived that when a person is hitch-hiking or even travelling by road that he/she will form certain friendships along the appearance. Mona represents not only a female figure, but also one of who is travelling alone. non only is she reflecting her insanity from society by firstly being alone, but also by defying handed-down female expectations of how she should be living.It puts into question her Feminine fictional character, which is explored through Monas keep on the road after her death. To those who meet Mona along her journey, they gamble her radical and out of the ordinary. They are not used to meeting people, and woman of this nature and this prevents her from forming any break up of bond with those that she meets as they are incapable of pinch her. Mona also consumees an immobility to any forms of normality, and it is this indifference to normal social relations that enamours her to some while at the same time others pass off repelling.The people that appear to be enamoured by her are those that wish to be in her position, free to have the space to do what they want to do, those that are enclosed and caged in their traditional and suffocating female roles. These women at first snoop see Monas braveness and rebellion, and contemplate what it would be like to be in her position. Her presence affects middle-aged housewives, schoolgirls, truckers, mechanics, construction workers, academics, and domestics. from each one reacts to her in a way that is indicative of her or his social position in the community.For example, a young farm girl helps Mona fill her water store at the family pump and later, during a family dinner, she tells her parents she wants to be free like the camper. When her mother asks who would make her dinner both night, the girl quietly replies, At times it would be better not to eat. To this girl, who lives a sheltered smell with her parents in a tiny village, Mona represents the emancipation to go where she pleases without answering to anyone, a life full of excitement. separate parents worry that their daughter will turn out like Mona.In reference to Mona, a wife tells her husband, Shes got character. She knows what she wants. Marry the wrong man and youre stuck for life. I want that hippy. To this middle-aged matron, Mona represents the freedom of choice. From these short observations on Mona, often habituated by witnesses w ho appear only at one time and are not involved in any of the more complex social relationships in the film, a complete range of views on Mona is expressed. Otherwise others find her, and this is for the most part, offending and disgusting.All owing to her smell, smuttiness and her appearance, all of which normal women who fit into society find disgusting and it is these women that are the main cause of excluding her from society. Not only is it the vagabond role or image that which excludes a person from society, but it is also these liberating and seditious characteristics that cause Mona to be alienated from society. Mona has five probatory relationships throughout the film. She has two female friends, Madame Landier and Yolande, two lovers, David and Assoun, and one intellectual partner, the Goat covey.Through encounters that Mona has along her travels and the relationships which she develops, Varda explores Monas capacity for emotional warmth, her intelligence, and her inde pendence, but more specifically these relationships explore other peoples views of Mona and they express who she should be. It is society that imposes these views on people, forcing them to have certain expectations and notions about others. Madame Landier and Mona are societal opposites. Madame Landier has a career, she has a home, and she is clean and well fed, while Mona does not possess any of these qualities.Mona is a drifter, an outsider, and as such it is her role to provoke self-examination and doubt in the minds of those who belong. (3) We never really understand Mona or who she is, and perhaps this is because of the way in which she detaches herself from others. But it is more probably because we are incapable of relating to Mona, and this forms a kind of block in our thoughts and feeling towards her. We cannot understand her perhaps because we are unvoluntary to. We possibly in effect learn more about the interviewees and in particular ourselves as spectators.It is Mon as fallback from others leads to her deterioration in her health and her ability to read social situations in which she finds herself, and which eventually leads to her death. Sans toit ni loi, represents a womans escape from patriarchal control, through utter braveness and rebellion, and an indifference to what is considered the norm amongst society. It is her death that is the first sequence in the film, and it is particularly shocking. The question may be asked whether Monas life would have been cut so short, had she been accepted by society for her unique qualities.Mona faces several rejections in her journey, the harshest of which is the rejection given by the Goat-herder. In his own words he chose a middle road between desolation and freedom, when he decided to reject mainstream society but to keep a family. The morning after Monas arrival his irritation with her begins to show. He thinks she has slept long enough so he makes a great effort to showing her. As they speak he learns that she lives for the complete freedom of the road, that she has no desire for anything and that she is lazy and ultimately ungrateful in addition.He moves her out of the house and into an abandoned thrusting in the yard in order for her to soak up a potato farm. To disguise her hurt at being moved away from him and his family, Mona exclaims, You three and the herd are a crowd as she moves into her tiny new home. Once in her new home Mona forgets about her potato farm. She stays in her trailer reading, smoking and sleeping. The goat herder, in frustration, finally kicks her off his blank space telling her its not fair that all she does is sit around all day while he and his wife work.During the conversation when he asks her to leave, Mona tells the Goatherd that if she had the chances he has had (he has a Masters degree in Philosophy) she would not be living in the squalor in which he exists. You live in filth just like me, only you work more, she tells him. Later whe n he offers his testimony, (which immediately follows Monas rape) the Goatherd says By proving that shes useless, she helps the system she rejects. Thats not wandering, thats withering. The Goatherd is till in the thrall to the work ethical code of the society which he affects to despise,(4) and cannot endure Monas laziness. According to Varda the Goatherd is the defeat judge of all because he wants to be marginal but in his way. He doesnt accept other people. (5) The Goatherd lives in some sort of system, although it too is marginal, whereas Mona has rejected the system entirely and functions in an even bigger margin of society. Monas rejection of social and sexual productivity is counter the idea of women.Her identity as a woman stops her from having fixed identity, along with her changeless moving about. Monas independence from a fixed identity is an assertish of her altiriti (otherness). (6) In Sans toit ni loi, Tracking shots are very important, the importance of direction moving from right to go forth giving the impression of backward movement which may be interpreted as moving against the culture and the tide, which reflects Monas character. Even her degree of independence is emphasised by the tracking shots they do not follow her exactly, as the camera either overtakes her or she overtakes the camera.Although we consider Mona as part of the marginal of society, throughout the film we also see her interacting with other groups of marginals the Mahgrebian migrant workers, the homeless and also the goatherd. Yet Mona also finds exclusion amongst these groups too, this is particularly pellucid when the goatherd says to her Youre not a drop out, youre just out. You dont exist. This may as well be the case because although Mona is alive, it is as though she is not really living. La Haine and Sans toit ni loi are two films which present the division of marginality, the former questioning marginality in terms of womanhood and female marginality and th e later concerned with marginality within the community.La Haine and The Banlieue is presented as a dessert, with no feeling of public space and precious little private space either Paris where Vinz, Said and Hubert spend some half the film, is rejecting and alienatory. La Haine is in fact, to quote Olivier Mongin, the impossible action of developping an identity, personal or collective. This film is concerned In Sans toit ni loi, the interviews function almost as literal testimonies they are not chronologically placed fade in and out, an unconventional style. They also create place for the spectator, and it is this effect that allows us to judge Mona in some way. We also are able to judge Mona through Vardas use of art. When Mona comes from the sea it recalls the myth of Venus, but in reality Mona is the total opposite of this. Mona is dark from the dirt, cheating(a) and of undefinable shape.