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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

La Haine

Lesson Objectives:

The Narrative Structure of La Haine

La tension et une histoire al atoire
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.

Le r alisateur
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.

Un c ercle v icieux
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.

Un road movie
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.

Le cin ma am ricain
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.

Narrative devices a clock a gun stories

Narrative devicesA clock, a gun, stories

Les appareils du récit

Un horloge, un revolver, et des histoires.

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.

Le revolver
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.

Le revolver1
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.

Les histoires
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.

S15 hubert telling vinz about society falling
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.

Jusqu ici tout va bien l importance ce n est pas la chute c est l atterrissage
« 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.

Opening scene
Opening scene. la chute, c’est l’atterrissage. »