1 / 19

Survival of “Minorities” [ Saracens = Muslim enemies of Christians during the Crusades ]

La Sarrasine. Survival of “Minorities” [ Saracens = Muslim enemies of Christians during the Crusades ]. Outline. Montreal Census: Racial Composition General Introduction— immigrant culture in the film Racial relationship Gender Relationship

benny
Download Presentation

Survival of “Minorities” [ Saracens = Muslim enemies of Christians during the Crusades ]

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. La Sarrasine Survival of “Minorities” [Saracens = Muslim enemies of Christians during the Crusades]

  2. Outline • Montreal Census: Racial Composition • General Introduction—immigrant culture in the film • Racial relationship • Gender Relationship • Crossing the gender labelling/stereotypes • Conclusion

  3. Montreal Census – 1931 (one million) • French -- 60 % • British and Irish – 26 % • “other” – 13.5% (mainly German, Italian, Jewish) • Source: “Montreal Between Strangeness, Home and Flow.” Bill Marshall. Cinema and the City. Oxford, Blackwell, 2001.

  4. Montreal Census - 1991 • French -- 59 % • British – 5.4 % • both British and French -- 4.2 % • British or French mixed with some other origin -- 5.5 percent • Other European origins: 14.2 percent (the largest group being Italian, followed by Jewish, Greek, and Portuguese) • Asian or African ancestry -- over 6 % • Central or South American origin -- less than 1% • Blacks -- 2 to 3 %

  5. Characters-- Giuseppe Moschella and his wife Ninetta-- Alphonse L’Amoureux -- Félicité, Théo’s widow

  6. General Introduction—immigrant culture in the film A.Preservation of their culture 1.Historical aspect a.puppet show –Why is it important? -puppets brought from Sicily -the mention of the Italian hero Garibaldi b.language preservation Ninetta’s practicing Italian writing

  7. General Introduction—immigrant culture in the film 2 2. Familial a.Male-dominant -Giuseppe and his brother, both play the role for any decision-making of family matters b.Male-centered -stress on their male member—symbol of manhood (jokes) c.Close-Knit community -possible negative effects to women (tenants)

  8. General Introduction—immigrant culture in the film 3 3.Others a.food—la pignolata b.gun carrying

  9. Racial relationship 1 A. Language gap 1. limitation of language understanding 2.confrontation b/w outsider (Italian immigrants) and insiders (French-Canadians) B.Cultural misunderstanding 1.mainstream culture vs. sub-culture a.misunderstanding of traditions - example: wedding ceremony scene

  10. Racial relationship 2 2.Prejudice a.cultural discrimination -examples: the scene of Theo seizing the organ; 3.Stereotype a. Giuseppe was laughed at when he said “ I am not a murderer” in the court. b.Giuseppe’s role served as stereotype of Italian immigrants C. Sub-culture being defined by mainstream culture--helplessness

  11. The Legend of Clorinda and Tancred Jerusalem Delivered (Gerusalemme liberata)  Cathy Caruth: the wound of trauma repeats itself

  12. The Legend of Clorinda and Tancred • Immigrant culture (the puppets brought from Sicily) • Male-centered society (e.g. the audience’s responses) • Who is the Saracen? Clorinda and Ninetta?

  13. Gender Relationship A.Before the gun shot—scenes focus on male protagonists 1.Puppet show 2.Suit try-on -sexual jokes -male vs. female’s role 3.Bedroom scene (clip 1) 24:46

  14. Gender Relationship B.Turning point—gun shot scene (clip 2 35:00) 1.“organ” 2.“I’ll show you”—the gun 3. Ninetta’s perspective—“We are ruined.”

  15. C. After the gun shot —focus on Ninetta 1.self-awareness a.her feelings shown in written form 41:50 b.autonomy -Captain Moschella: “ I should keep the money for you.” Ninetta: “But they gave it to me.” -“Neither Satan nor God can make me leave!” -“It’s not your brother’s life, it’s my life!” (clip 3)

  16. C. After the gun shot —focus on Ninetta • 1.examples of taking initiative • refusing to leave even at the most sentimental moment • expressing appreciation to M. Alfonse, showing her regard to Theo • Escaping from the brother • 2.Open mind, open field (clip:from Antonietta’s peeing on the snow, till the end)

  17. IV.Crossing the gender labelling/stereotypes • Examples— • Alphonse and Carmelo • Felicite and Ninetta

  18. Director: Paul Tana • --born in Italy in 1947; came to Quebec in 1958 • Tana not only subscribed to the aesthetic of daily life so characteristic of Quebec cinema, he also made it his own by using immigrant characters. • The film, set in 1904, is based on a real story.

  19. [Tana's words] • We have placed Ninetta Morchella, our Saracen, in the blinding white snow of this land; she seems but a black stain--on herself, on us.

More Related