ABSTRACT

The term humour communautaire has been adopted to describe the widely popular genre of ethnic comedy cinema in France, films both praised for their ability to bring together diverse groups through humour while also raising scepticism as to whether a genre reliant upon stereotypes is not simply producing racist rhetoric. Such typecasting is particularly salient when non-European characters are juxtaposed against white counterparts, notably the case in films about interracial marriage. While stereotypes are certainly an important aspect of the representation of race in these films, this paper deviates from this typical reading to examine instead how the mise en scene in Romuald & Juliette (1989) and Qu’est-ce qu’on a fait au Bon Dieu ? (2014) undercuts narrative unity through spatial hierarchies and visual separation of racially marked bodies and white French characters. By interpreting the politics of representation in contemporary interracial comedies through the colonial and postcolonial theories of Albert Memmi and Frantz Fanon, it argues that the films ultimately portray the impossibility of complete cohesion as found in colonial-era cinema.

摘要

humor communautaire一词已被用来描述法国广受欢迎的民族喜剧电影类型，这些电影既因其通过幽默将不同群体聚集在一起的能力而受到赞誉，同时也引发了人们对依赖刻板印象的类型是否不仅仅是产生种族主义的怀疑修辞。当非欧洲角色与白人角色并列时，这种类型转换尤为突出，尤其是在关于跨种族婚姻的电影中。虽然刻板印象肯定是这些电影中种族表现的一个重要方面，但本文偏离了这种典型的解读，而是考察了Romuald & Juliette ( 1989 ) 和Qu'est-ce qu'on a fait au Bon Dieu ? (2014) 通过空间层次结构和带有种族标记的身体和法国白人角色的视觉分离削弱了叙事的统一性。通过 Albert Memmi 和 Frantz Fanon 的殖民和后殖民理论解释当代跨种族喜剧中的代表政治，它认为电影最终描绘了殖民时代电影中发现的完全凝聚力的不可能性。