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Redefining Beur Cinema: Constituting Subjectivity Through Film

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Redefining Beur Cinema: Constituting Subjectivity Through Film REDEFINING BEUR CINEMA: CONSTITUTING SUBJECTIVITY THROUGH FILM by Yahya Laayouni Licence, English Literature, Mohammed ibn Abdellah University, 2000 DESA, Mohammed ibn Abdellah University, 2003 Submitted to the Graduate Faculty of the Kenneth P. Dietrich Graduate School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2012 UNIVERITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Yahya Laayouni It was defended on April 10th 2012 and approved by Todd Reeser, Associate Professor, French and Italian Mohammed Bamyeh, Professor, Sociology Neil Doshi, Assistant Professor, French and Italian Dissertation Co-advisor: Giuseppina Mecchia, Associate Professor, French and Italian Dissertation Co-advisor: Randall Halle, Klaus W. Jonas Professor, German ii Copyright © by Yahya Laayouni 2012 iii REDEFINING BEUR CINEMA: CONSTITUTING SUBJECTIVITY THROUGH FILM Yahya Laayouni Ph.D. University of Pittsburgh, 2012 This dissertation focuses on Beurs’ modes of identification in France as depicted in film. The term “Beur” is not used as an identity based on birth or citizenship but rather as a socio- cultural construct that serves as an analytical tool to dismantle the notion of Frenchness. This study, thus, investigates how cinema reflects on the experience of the Beurs through filmic narrative. The aim is to trace the changing lives of the Beurs as they have been reconstructed in movies since the early eighties. This process is both synchronic and diachronic. Synchronic as it engages in the analysis of films with respect to their historical context and diachronic as it will permit the distilling of the commonalities between these films to lead to the conception of Beur cinema as a film genre. The theoretical premises of this study are founded on existential phenomenology; particularly Paul Ricœur’s concept of narrative identity and Merleau-Ponty’s notion of corporeality. As decolonized postcolonial subjects, the Beurs’ presence in France has become more visible than other groups, and their impact on French society is undeniable. Their corporeality is not conceptually configured but physically manifested as their subjectivities are visually constructed. The corpus of films in this study illustrates how Beur narrative identities are “decolonizing” the French nation. iv The first chapter traces back the emergence of the term “Beur” and discusses its linguistic derivation and metaphoric dimension. A discussion of Beur cinema as a genre constitutes the second chapter. The third chapter engages in an analysis of Beur comedy and the experiences of Beur characters as reflected through the narrative and the film techniques. The fourth and final chapter concentrates on gender in Beur films. It compares the image of the female Beur and that of the Beur gay respectively to that of the Arab nude and the “jeune arabe” of colonial postcards, and shows how these old colonial stereotypes still drive French perceptions today. v TABLE OF CONTENTS PREFACE .................................................................................................................................... IX 1.0 INTRODUCTION ........................................................................................................ 1 2.0 BEUR: THE “OTHER” AS FRENCH CITIZEN .................................................. 23 2.1 IS THE BEUR AN IMMIGRANT? ................................................................. 24 2.2 THE BEUR AS A METAPHOR. ..................................................................... 34 2.3 THE BEUR AS A ‘LIMINAL’ BEING ........................................................... 44 2.4 THE BEUR AND ALTERITY. ........................................................................ 49 3.0 BEUR CINEMA: A GENRE? .................................................................................. 56 3.1 BEURS THROUGH FILM ............................................................................... 60 3.1.1 PRENDS 10000 BALLES ET CASSE-TOI (1981). ...................................... 60 3.1.2 BYE BYE (1996) ............................................................................................. 66 3.1.3 FRANCAISE (2008) ....................................................................................... 74 3.2 BEUR FILM GENRE........................................................................................ 80 3.2.1 LE THE AU HAREM D’ARCHI AHMED (1985) ....................................... 93 3.2.2 LE GRAND VOYAGE (2004) ........................................................................ 97 4.0 WHAT MAKES A FILM COMEDY ‘BEUR’? .................................................... 104 4.1 COMEDY: A THEORETICAL PERSPECTIVE ........................................ 106 4.1.1 ON PEUT TOUJOURS RÊVER (1991) ...................................................... 114 vi 4.1.2 BEUR, BLANC, ROUGE (2006) ................................................................. 123 4.1.3 L’ITALIEN (2010)........................................................................................ 130 4.1.3.1 Mourad as Dino/inhabitant. ............................................................. 134 4.1.3.2 Mourad as Mourad/cohabitant. ....................................................... 137 4.1.3.3 Mourad as himself/exhabitant ......................................................... 138 4.2 THE FUTURE OF BEUR COMEDY............................................................ 142 5.0 THE ‘BEURETTE’ AND THE HOMOSEXUAL BEUR .................................... 145 5.1 P’TIT CON (1984) ............................................................................................ 150 5.2 UN FILS (2003) ................................................................................................ 158 5.3 DES POUPEES ET DES ANGES (2007) ....................................................... 167 5.4 TARIK EL HOB (ROAD TO LOVE) (2001) ................................................. 175 6.0 CONCLUSION ......................................................................................................... 185 BIBLIOGRAPHY ..................................................................................................................... 191 FILMOGRAPHY ...................................................................................................................... 201 vii LIST OF FIGURES Frame 1 Salima ........................................................................................................................... 154 Frame 2 Salima and Michel ........................................................................................................ 154 Frame 3 Salima and Michel ........................................................................................................ 156 Frame 4 Selim and Max .............................................................................................................. 166 Frame 5 Selim and Louise .......................................................................................................... 166 Postcard 1 Type d’orient 723 ..................................................................................................... 155 Postcard 2 Bedouine 745 ........................................................................................................... 157 Postcard 3 Jeune Arabe 919 ....................................................................................................... 164 Postcard 4 Jeune Garcon 699 ..................................................................................................... 165 viii PREFACE This work has taught me to reflect on a lot of things, but one of the major ones is that self-value is contingent upon others around us, without them our existence is of no significance. I would like to thank a number of people who contributed to the completion of this dissertation. I would like to start with my advisors Giuseppina Mecchia and Randall Halle who guided and assisted me in every stage of the writing process. Each of them had a different way of bringing the best out of me and I will never thank them enough for believing in me. Thank you Giuseppina Mecchia for guiding me, for teaching me to value every step in this project and most importantly for your practical advice. Thank you Randall Halle for your patience, your insightful comments, and for inspiring me to start on this journey. Thank you both. I am so grateful to Michael Eschenfelder, my father-in-law, for his tremendous help in taking time to carefully read my dissertation and in being always there to discuss it with me. I am also grateful to Kathleen Eschenfelder, my mother-in-law, for helping me concentrate on writing in moments when it was almost impossible to work. Thank you for taking care of Yasmine, and for your encouragement along the way. I would like also to thank the members of my committee for accepting to be part of this project and for the interesting discussions I had with each one of them. I would like also to thank them for their patience and for their encouragement. ix I owe a large debt to Roberta Hatcher who started this process with me and who helped me get through difficult moments in my life. I am also grateful to Monika Losagio and Barbara Stolarz for helping me with all the paper work and particularly for their reassuring smiles. To my wife Susan many thanks for your patience, your support and for being there whenever I needed you. Thank you for tolerating
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