La Haine Film Analysis

The marginalization and isolation found in the suburbs of Paris are the results of 20th century postwar Paris failed urban planning. City officials attempted to reconstruct Paris into a higher functioning city based on models of other metropolitan communities; using designs that broke the city into sections. As a result, urban planners created separation between classes, which produced a loss of connection and identity for immigrant families. That class division became a breeding ground for hostile attitudes, stereotypes, and generations of poverty in the suburbs. These increased tensions centered on race and wealth are today modern Paris’s most pressing issues. The flawed urban planning that gave birth to the suburbs created what Prime Minister

I feel the article explores the political conflicts that arise when aspirations collide across a generational divide marked by sharply different political agendas. The character Tricia is a young, single mother whose family and financial difficulties reflect the circumstances of the urban poor. Furthermore, she delivers a compelling performance in scenes that reflect just how city policies affect individuals.

The camera follows the elders of the block, Da’ Mayor and Mother Sister, as they talk in her bedroom. For a rare moment in the film Da’ Mayor’s and Mother Sister’s eyes are at exactly the same level, showing that as different as the two may have seemed, they are very much the same. Then the camera slowly pulls out as the two stand and sluggishly walk down a hallway toward a window. Now, where a director would typically have to cut and setup a new shot, Lee pulls the camera straight out of the window as Mother Sister and Da’ Mayor survey the block. The audience would expect to see next exactly what Da’ Mayor and Mother Sister are looking at, but instead Lee quickly pans over in the opposite direction to reveal Mookie standing in the street bellow. By doing this Lee makes a connection that both the elders and Mookie are, in the words of Mother Sister, “still standing.” The shot is not particularly tight but still has a cramped feel due to the clutter of things in the background, the heavy shadowing, and the red tint on the lighting. The red lighting gives sense of volatility to the shot, which is contrasted by the slow camera and character movements. These slow movements are analogous to the block as, regardless of how slowly, it too will go on and life will continue. This shot is in the tradition of mise en scene advocates like Bazin in that,

The camera movement from one side of the street to the unknown neighbor's house illustrated how unwilling they were to listen to Will’s reasoning yet determined to inflict violence upon a presumed “terrorist family”. The previous examples revealed that with the correct camera movement you can enhance feelings, and foretell them too. In specificity to these scenes, the reoccurring slanted motion appealed to the feeling of disarray and foreshadowed the mayhem to come. While the camera movement from one house to another depicted the wrath of the mob; proves that the cam movement allowed the viewer to receive a better sense of what unreasonable fear the characters are feeling.

The article provides information on the opinions of the cast members from the film. This allowed me to get information on the cast member’s view point on what is happening today. They think that the events taking place are just the same as 20 years ago. I also found out that the actors in La Haine also took part in real riots back in the 90’s. This information made the movie even more realistic because they all experienced what happen before they decided to become part of the movie. Finding out their opinions and experiences helped my paper because it is about the personal experiences of immigrants and how nothing has changed since La Haine was

The film, Poniente clearly demonstrated the issues of race and class within Spain. All throughout the film, aggression from the local Spanish residents was seen towards the migrant workers. The workers, many of whom were from Morocco or other parts of Sub-Saharan Africa, were underpaid for their labor, threatened, verbally and physically abused, and thought to be easily replaced by their employers. Said, for example, nearly bought his own place to live, but the landlord rented it out to someone else, most likely because of race. All these acts of violence cumulates and results in the final scene of the film; where the residents riot and attack the workers, thinking they had set fire to the greenhouse.

“La Haine”, a 93 minute film regarding about three adolescents(Vincent Cassel, Hubert Kounde, and Said Taghmaoui) who struggle to cope in a poverty-stricken environment in which hatred and violence are part of everyday life. Even the title “La Haine” which is a French word, translated to 'The Hatred' suggests what the film is about. Based on a true event, “La Haine” is inspired by a real event where a young man was murdered while being questioned at a Parisian Police station. In exploring racism in the Paris suburbs, this film has a direct contrast with more typical French films, such as Amelie(2001) which presents a far more romantic and idyllic vision of French life. The beginning of La 'Haine' shows the beating of a

This study will discuss Mathieu Kassovitz’s 1995 film/screenplay ‘La Haine’. The film’s portrayal of life in the French ‘Banlieu’s’ will be explored and an analysis of its accurate depiction of the reality within these Parisian suburbs will be discussed. There will be a further discussion on whether the issues highlighted, within the film, of police brutality, poverty, unemployment, and disaffected youth culture remain prevalent within Banlieu’s today. The first source, the film and screenplay of La Haine will be used to support the discussion and findings. The second source that will be discussed to support the study is the 2015 article by Ines Bouchareb in which he explores, through an interview with the director Mathieu Kassovitz’s, whether the issues depicted within the 1995 film remain a reality 20 years on.

The spectator is thrown into the reckless and expeditious world of the characters, creating a sense of hedonistic abandon and excitement. The chase leads to the first of the dramatic scenes within City of God. A heavily armed stand-off between Lil’ Zé’s gang, and the police ensues and we are introduced to Rocket who is caught between the two. It is here that the shot rotates 360 degrees, spinning us into the past, leaving the spectator keen to understand more. It is this exhilarating sequence of editing and camera work that has led some viewers to brand the film an indulgent exhibition of romanticized ghetto life. However, the producers of the film claim that the effects are present in order to assist the telling of a universally human story and are intended to capture its realism[9]. Kátia Lund commented on the rotation shot and remarked that “the critics would say this is a film from Hollywood, they’re doing The Matrix, these fancy shots. And the cost of the shot was...$20. Just a guy pulling a dolly”[10].

The use of various camera techniques such as canted frames, low-angled, high-angled and close up shots, as well as camera distance, enhances the struggle between the characters. The use of such techniques not only allows the audience to get an extensive insight into the many different characters, but also helps us understand the relationships between them and how all of these factors contribute to the overarching theme of racism in the film. The use of these camera rapid movements

An interesting tension is created by looking at the realistic rendering of figures on a perfectly smooth painted surface, blended with their dull apparel, and an image of youthful pureness of innocence, comparing it to the colorful, vivid, crude and profane graffiti covered walls. The tension yields an interplay of symbolism amongst the principals of drab and colorful, innocent and corrupt, and smooth and rough that tells a quality story. The young woman’s hair is in a bun, leaving her face visible. Her apparel is a modest, long grey skirt and a black long-sleeved shirt.

LaGravanese makes an excellent job with the characters, the soundtrack, and the scenery, making the message clear for the audience. Throughout the movie, the director uses many strong facts that strengthen his credibility and appeal to ethos, as well as build the movie’s argument. The director establishes his credibility by showing the audience actual video footage of Los Angeles area from the early 1990s and a series of captions demonstrated the racial tension between different gangs. Also,

Mise-en-scene plays a large role in Children of Men; Alfonso Cuaron uses it to set a world with the state of affairs of reality mirroring concerns as migration, and media manipulation

The tilting of the camera highlights the racial tension depicted in the scene while the loud blaring of the song “Fight The Power” plays on Radio Raheem’s boom box in the background. The medium long shot in the far off background, of Radio Raheem, Buggin’Out and Smiley with the camera panning back and forth, illustrates that the tension among the characters has finally reached its height. When Radio Raheem’s music again blares, Sal demands that they turn the radio down or leave the shop, but they refuse to do so. The men then proceed to yell at and threaten each other, thereby escalating the growing tension in the pizza shop.

Narrative films are crafted with the prime purpose of stimulating emotion for its viewers to experience and to communicate an overarching message. All films released are produced with objectives to express, which can range from, exposing audiences to concepts that they may be uneducated on or completely unaware of, to employing a fresh perspective on pivotal subjects. Some films even endeavour to introduce audiences to unfamiliar cultures and lifestyles. The 2006 film ‘Babel’ directed by Alejandro González Iñárritu, is a film that effectively presents foreign cultures to audiences who are unaccustomed to these ways of life. Babel is a multi-narrative film that shows four groups of people located in four different countries, Morocco, Japan,