Film makers such as Karim Dridi and Mathieu Kassovitz, whose films of the early to mid-nineties, Bye Bye (Dridi 1995), La Haine (Kassovitz, 1995), and Métisse (Kassovitz 1993) explore issues of xenophobia, unemployment, the ever-widening ‘ fracture sociale‘ dividing the haves and the have-nots in French society and the important subculture emerging among those most negatively affected by these social iniquities, the youth of the cités or banlieues. ![]() New Realism, Powrie states, “refers less to a defined movement in French cinema sharing a political agenda, and more to a diverse group of film-makers who effected a re-engagement with sociopolitical subject matter” (16). ![]() While the resurgence of a “ cinema des producteurs“ 1 and the development of the highly popular “ film d’action” genre (Higbee 298) dominated the landscape of French mainstream cinema in the 1990s, the decade also witnessed the re-emergence of a politically committed, or what Powrie terms “New Realist” French cinema.
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