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

Marginality inwardly a fellowship speaks of whateverthing or someone that is non important which precedes in them macrocosm excluded from society and leaves them feeling alienated. La Haine and Sans toit ni loi atomic number 18 two ingests developed around the period of la fracture sociale, the puddleer centred on the fraternity in softenicular and the later centred primarily on the individual. The 1980s saw the pass over of civil unrest in inner cities, which similarly led to a rise in unemployment and educational problems.There was excessively the perceived panic of national identity, and at the same time worries some Muslim integrating had commenced. It was at around this time that there was the affaire du foulard, a sincerely controversial period as the French republic separates the church and the state. The clog of integration and threat of national identity, developed into the French media using the la fracture sociale. La Haine, was brought out at a moment in France during the Mitterrand period, where serious read/write heads were be asked about integration and immigration.A controversial convey, Mathieu Kassovitz film La Haine, re pitchs an account of la fracture sociale, or rather divisions deep down a society. Marginality is a result of divisions within a society, and in the theatrical role of La Haine, these divisions be due to social and racial conflict. Because of such conflicts and divisions it results in certain social, as well as ethnic groups, being excluded from society as a whole. La Haine, is set in Paris and more than specifically in the banlieus of Paris, the outskirts of Paris.The fact that it is set on the outskirts of Paris already brings a long with it certain con nonations, the fact that it is set a part from Paris itself, all of which ar negative. A term particularly use to describe the large number within les banlieus is les exclus. This term quite clearly depicts that they atomic number 18 excluded f rom the rest of Paris. Kassovitz has translated this problem of ejection by reinforcing its universal aspect, which represents a chiefly masculine world. La Haine is centred on a group of friends, all ternary of a different race, religion and ethnicity.They hold back been excluded by society and make to become the margins of society because of their accent, their geographical and economic isolation. They ar third characters that view as non been accept into society, even though they were born in France and argon not immigrants. Almost all the characters in La Haine are manful and womanish characters underlining their disempowerment (1) often boss the deuce-ace main characters around. The citi is divided on gender lines as well as lines dividing social class.The interiors are infrastructure to the woman as is the middle to upper class, and the outside is masculine as well as working class. This is quite clearly creating margins for division within the French society as a whole. Paris is a prick that plays a part in upsetting spatial dealings with the three friends, not only in the male- pistillate sense, moreover it in any case causes them to be disjointed from Paris and the middle class of society. They feel that armorial bearing is not recognized within certain places in Paris the infinites become prisons of one diverseness or an other. (2)In this case it is the banlieue that is their prison, it is this space that is excluding them from the rest of society and thusly alienating them. La Haine is constructed around the oppo baby-sition between Paris and the banlieue The elision and enclosure that this group of friends faces depends to have forced them to turn and adopt a different identity. The influence of the American refinement, via movies and gangster films, is evident from the use of the lax language and slang which convey a feeling of the ghetto.They have practically been rejected by their own society/identity and they appear to have no other choice but to adopt certain American attributes. This is not only emulated in their use of slang, but also in their clothes and the music that they listen to. either of which are typical traits of the American culture. La Haine pushes the idea of assimilation of immigrants into French society passim the film, resulting in them having to cut off any links they have with their country of origin. youth in the film are very distant from their parents and also their traditions.This whitethorn be because of the struggle they face on a daylight to day basis, to fit in. They are conveyed insiders because they are resident in France while appointee into the youth culture of the banlieue while being outsiders because of racism because of their country of origin. This indicates that they moldiness reject both heir parents and their country in order to survive, differently they leave alone be unsuccessful in their assimilation. Lack of identity because of untested age is often the case, but with the youth of the banlieue do not really have that reasoning behind their exclusion.It is perhaps the message behind the film that the youth of the banlieue are being forced into criminal and violent actions, because the French society is unwilling to acknowledge the predicament in which they are in. It whence becomes a vicious circle, and this predicament into which the are forced becomes their destiny. It is in force(p) that the sense of hearing feel a degree 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 brand 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 coetaneous France either through soulfulnessal 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 image of the banlieu and its habitants to the rest of society.At this time there were several films that were produced based 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 boundary of cities within France. The military force of space appears to particularly poignant part in the film. The movement of the camera into certain spaces, alongside the sense that they are being forgrounded into the space directly forces them to the front of the screen this is created through fuzzy and unclear backgrounds.Another heart used to make a space feel in enclose is the use of mirrors. All of which communicate the feeling of an enclose space. Rather than the three friends being liberated, and being allowed to move freely in an open space, they appear to be trapped in such an enclosed space. This may be compared to Nikita, where we insure 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 bring down in Sans toit ni loi, presents a different form of marginality, that of a homeless woman roaming the streets. Its is normally perceived that when a person is hitch-hiking or even travelling by pass that he/she will form certain friendships along the way. Mona represents not only a female figure, but also one of who is travelling alone. Not only is she reflecting her mania from society by firstly being alone, but also by defying traditional female expectations of how she should be living.It puts into question her Feminine role, which is explored through Monas purport on the road after her death. To those who meet Mona along her journey, they find her cornerstone and out of the ordinary. They ar e not used to meeting people, and woman of this temper and this prevents her from forming any sort of bond with those that she meets as they are incapable of disposition her. Mona also possesses an calmness 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 find 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 visual sensation see Monas braveness and rebellion, and contemplate what it would be like to be in her position. Her presence affects middle-aged kinwives, schoolgirls, truckers, mechanics, construction workers, academics, and domestics. Each reacts to her in a way that is apocalyptic of her or his social position in the community.For example, a young bring about girl helps Mona fi ll her water bottle 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 every(prenominal) night, the girl quietly replies, At times it would be better not to eat. To this girl, who equals a sheltered life with her parents in a tiny village, Mona represents the exemption to go where she pleases without answering to anyone, a life full of excitement. Other parents hassle that their daughter will turn out like Mona.In rootage 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 desire that hippy. To this middle-aged matron, Mona represents the freedom of choice. From these short observations on Mona, frequently given by witnesses who appear only once and are not involved in any of the more complex social relationships in the film, a have sex range of views on Mona is expressed. Otherwise others f ind her, and this is for the most part, offending and disgusting.All owing to her smell, dirtiness 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 pad role or image that which excludes a person from society, but it is also these liberating and rebellious characteristics that cause Mona to be alienated from society. Mona has five significant relationships throughout the film. She has two female friends, Madame Landier and Yolande, two lovers, David and Assoun, and one intellectual partner, the goat herder.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 independence, 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, forcin g 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 tease self-examination and doubt in the minds of those who belong. (3) We never really realise 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 unwilling to. We possibly in effect look at more about the interviewees and in particular ourselves as spectators.It is Monas detachment from others leads to her constipation in her health and her ability to read social situations in which she finds herself, and which at last leads to her death. Sans toi t 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 loneliness 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 parturiency to wake 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 too.He moves her out of the house and int o an abandoned trailer in the yard in order for her to start up a potato farm. To disguise her hurt at being move 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 goatherd, in frustration, in conclusion kicks her off his property telling her its not fair that all she does is sit around all day while he and his wife work.During the confabulation 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. afterwards when 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 ethic of the society which he affects to despise,(4) and cannot anticipate Monas laziness. According to Varda the Goatherd is the worst 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 exclusively 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 lettuce her from having dictated identity, along with her constant 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 left giving the impression of reverse movement which may be interpreted as moving against the culture and the tide, which reflects Monas character. Even her degr ee 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 obvious 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 theme of marginality, the former questioning marginality in terms of femininity and female marginality and the later have-to doe with 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 Pari s where Vinz, Said and Hubert spend almost half the film, is rejecting and alienatory. La Haine is in fact, to quote Olivier Mongin, the impossibility of developping an identity, personal or collective. This film is concerned In Sans toit ni loi, the interviews function almost as verbal testimonies they are not chronologically placed fading in and out, an unconventional style. They also create distance 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 disastrous from the dirt, smelly and of undefinable shape.