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In her film Bande de filles, Céline Sciamma radically challenges stereotypical representations of French “cinéma de banlieue”’. Discuss by making reference to detailed examples from the film and to film-making techniques such as editing, use of sound and $10.61
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In her film Bande de filles, Céline Sciamma radically challenges stereotypical representations of French “cinéma de banlieue”’. Discuss by making reference to detailed examples from the film and to film-making techniques such as editing, use of sound and
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Course
French 1B (ELCF08006)
Institution
The University Of Edinburgh (ED)
French film essay - 85/100 top mark in year for French 1B semester 2
Analysis on whether she challenges cinema de banlieue stereotypes
‘In her film Bande de filles, Céline Sciamma radically challenges stereotypical
representations of French “cinéma de banlieue”’. Discuss by making reference to
detailed examples from the film and to film-making techniques such as editing, use of
sound and mise-en-scène.
Bande de Filles by Céline Sciamma is a coming-of-age film set in the Parisian banlieue
focusing on the lives of young black girls. One could argue that Sciamma challenges
stereotypical representations of French ‘cinéma de banlieue’ by having female protagonists
take on typically male roles, highlighting the networks of control the girls are subjected to,
and with her use of cinematography. However, I would say that the term ‘radically’ is an
overstatement, as her film has similar themes to other ‘banlieue’ films, such as the selling of
drugs, criminal activity, violence, and the wish to escape the suburbs. Nevertheless, Sciamma
challenges the typical representation by stressing the female perspective and redefining
gender norms, rather than addressing, as she remarked in an interview, “the question of the
police, white people, racial confrontation and religion”.1 She presents a fresh and intimate
gaze of the banlieue whereas past films had been filled with intense violence.
Sciamma challenges stereotypes in the genre by concentrating on the female gaze and stance,
whereas most films illustrate a wholly masculine banlieue. ‘La Haine’ by Kassovitz2 is
perceived as the film that consolidated the ‘cinéma de banlieue’ themes and cinematography.
In stereotypical banlieue films, women are confined to the home and the female perspective
is completely absent3 - they are depicted as sexualised and victimised characters4 in a
hypermasculine space. The film breaks this pattern by giving mobility in the film to women,
1
Péron and Franck-Dumas (2014a). Céline Sciamma: ‘Les grands films libèrent des territoires plutôt qu’ils ne les occupent’.
[online] Tumblr. Available at:
https://www.tumblr.com/mlleclaudine/619672223010160640/c%C3%A9line-sciamma-les-grands-films-lib%C3%A8rent-des
[Accessed 23 Mar. 2023].
2
La Haine (1995) Dir. Mathieu Kassovitz. La Haine. Studio Canal Film
3
Vincendeau, G. (2012). La haine and after: Arts, Politics, and the Banlieue. [online] The Criterion Collection. Available at:
https://www.criterion.com/current/posts/642-la-haine-and-after-arts-politics-and-the-banlieue. [Accessed 20 Mar. 2023].
4
Tarr, Carrie. Reframing difference: Beur and banlieue filmmaking in France, Manchester and New York, Manchester
University Press, 2005, pg. 112
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