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Post-beur CinemaMaghrebi-French and North African Emigre Filmmaking in France since 2000$
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Post-beur Cinema: Maghrebi-French and North African Emigre Filmmaking in France since 2000

Will Higbee

Print publication date: 2013

Print ISBN-13: 9780748640041

Published to Edinburgh Scholarship Online: January 2014

DOI: 10.3366/edinburgh/9780748640041.001.0001

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. Colonial Fracture and the Counter-Heritage Film

. Colonial Fracture and the Counter-Heritage Film

Chapter:
(p.61) 3. Colonial Fracture and the Counter-Heritage Film
Source:
Post-beur Cinema
Author(s):

Will Higbee

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748640041.003.0003

The question of memorializing France's colonial past has been a prominent and contested issue in French politics and the media in the 2000s. This chapter considers how Maghrebi-French filmmakers have chosen to represent the Franco-Maghrebi colonial past and in particular the Algerian War and the history of North African immigration to France. Through case studies of four key films – Inch'allah dimanche, Cartouches Gauloises, Indigènes and Hors-la-loi – the chapter argues for the emergence of a postcolonial ‘counter-heritage’ cinema to challenge the Eurocentric representations of French colonial history offered by the middlebrow heritage film in French cinema of the 1990s and 2000s.

Keywords:   Counter-heritage film, heritage cinema, colonial history, nation and memory, Indigènes, Inch'allah dimanche, Cartouches gauloises, Hors-la-loi, Algerian War, history of Maghrebi immigration to France

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