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La Haine

La Haine. Lesson Objectives: The Narrative Structure of La Haine. La tension et une histoire aléatoire. Le sc é nario suit une journée dans les vies de 3 jeunes hommes, des origines ethniques très diverses, qui viennent d’une cité dehors de Paris.

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La Haine

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  1. La Haine Lesson Objectives: The Narrative Structure of La Haine

  2. La tension et une histoire aléatoire. • Le scénario suit une journée dans les vies de 3 jeunes hommes, des origines ethniques très diverses, qui viennent d’une cité dehors de Paris. • Le film commence le matin après des émeutes provoqués par un jeune beur qui était blessé par la police accidentellement. • On voit la vie ennuyeuse et sans but des trois personnages principaux, qui sont ni au collège ni au travail, dans une série des rencontres plus ou moins violentes.

  3. Le réalisateur • Il a dit, quand le film est sorti que son film était sans structure, une série des scènes détachées dans lesquelles rien se passe. • il a dit aussi que chaque scène constitue une petite histoire toute seule. • A première vue, pour le spectateur c’est vrai et ce style de narration ressemble la vie des jeunes hommes. • Mais la vérité est qu’en faite, il y a une structure classique et cohérente.

  4. Un CercleVicieux • The opening of the film shows televised documentary violence, mirroring the cycle of violence in the banlieue. • Also sets the tone for the fictional violence that concludes the film the next morning, thus looping back to the beginning. • The police bavure provokes the fictional riots that took place before the film opens, and another bavure –the shooting of Vinz concludes it suggesting a loop.

  5. Un road movie • Although not geographically long, the 3 heroes go on a journey as in a road movie. • They are constantly running, walking, on a train, passing through diverse locations and having numerous encounters along the way. • They clash with relatives, officials, policemen, journalists, shop keepers, neighbours, concierge, patrons at the art gallery, taxi driver, man on escalator, skin heads not to mention each other! • Many of these encounters are dramatic/ violent.

  6. Le cinéma américain. • A big difference between La Haine and other youth oriented American films is that the narrative solves a problem that they have or offers them an opportunity of redemption. • In Hangin With the Homeboys – one of the characters hesitates between improving himself by taking up a scholarship or continuing a life of fun with the Homeboys. He opts for the scholarship. • This traditional American ending offers the character moral redemption. • In La Haine there is no such personal redemption, learning or problem solving. • The heroes have no personal goal and start and end in the same place. • Hubert’s hopes of progress through boxing are shown to be already shattered in one of the first scenes of the film. • Vinz gives up the gun but is still caught up in the violence. • The tragic ending has a collective social dimension rather than an individual moral one.

  7. Narrative devicesA clock, a gun, stories Les appareils du récit Un horloge, un revolver, et des histoires.

  8. L’horloge • The clock doesn’t provide a realistic account of time passing. • The counter appears arbitrarily and corresponds neither to regular blocks of time nor to the film’s internal structure. • Apparent randomness contributes to the realistic effect of the film e.g. 17:04 seems more improvised and therefore more real than 17:00. • The loud ticking gives the film urgency, the impression of a countdown/ a ticking bomb. • At the end, for the first and last time, we see the digits move from 6:00 to 6:01.

  9. Le revolver • Lost by a police man during the riots. • Symbolic of the police bavures (MakomeM’Bowole, the trigger for this script, was shot in the head.) • Whips up Vinz latent aggression as a symbol of the violent patriarchal power he feels oppressed by. • Cinematic mystique – on the rooftop, the 3 discuss it in terms of Lethal Weapon series of films. • Symbolic in terms of gender.

  10. Le revolver • Also functions as motivation in the film • It is lost, so is found, then must be used. • Vinz says that he will “waste a cop” but can’t, Hubert will then do it. • It appears at regular intervals: • In the tunnel, at Asterix’s, with the Skinheads, in the fantasy of killing the traffic wardens, in the final shoot out. • Reinforces Vinz’s centrality as well as iconic power of the gun: the image of Vinz brandishing it has become an emblem of the film.

  11. Les Histoires • The stories that people tell are a structuring device. They form part of the quiet/ crisis pattern of the film. • S2 Said tells Vinz a joke about killing for nothing. • S4 a young beur tells a story about candid camera • S10 the old man in the toilets • S15 Hubert telling Vinz about society falling.

  12. S15 Hubert telling Vinz about society falling. • Most important to the narrative. It starts and ends the film. • At the start Hubert says“C’est l’histoire d’un homme qui tombe d’un immeuble de 50 étages...” • At the end he replaces un homme withune société.

  13. « Jusqu’ici tout va bien. L’importance ce n’est pas la chute, c’est l’atterrissage. » • la chute – the fall • L’atterrissage – the landing. • Some say the film is about the landing. • Some say the film is about the fall.

  14. Opening scene. • http://www.youtube.com/watch?v=Uz9vgtXq_Hs&feature=related

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