ABSTRACT Nicolas Boukhrief’s film Made in France (2015) charts an unsettling path into the world of terror, with the radical intent to shake public perceptions and disrupt state discourses by redirecting the gaze inward to investigate the very disturbing, and much repressed, phenomenon of home-grown terror. The film marks a major departure in Western films about terrorism, in that it frames the story through the perspective of the terrorist, and maps a different cartographic imagination, directing attention away from conceptions of terrorism as dispersed, networked or de-territorialised to establish a geography in which terror is located in the inner domain and manifests itself as a state of rupture or ‘anomie’. Made in France avoids the trap of perpetual binaries (‘us’ versus ‘them’ rhetoric) to deliver a trenchant message about the growing threat couched in the social fabric, and in our contemporary times. By shifting the gaze from the more generalised subject of ‘terrorism’ to focus on individual terrorists as well as processes of radicalisation and group dynamics, the film aims to unpack the concept of terrorist and undo the spectacle of terrorism in order to articulate a more complex and reflective narrative that emphasises causality, history and temporality.

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通过恐怖的镜头：在勃克瑞夫的《法国制造》中重新想象恐怖暴力

摘要尼古拉斯·勃克瑞夫（Nicolas Boukhrief）的电影《法国制造》（Made in France）（2015年）描绘了一条通往恐怖世界的令人不安的道路，其根本目的是通过将视线转向内向，以调查极为令人困扰且受到压抑的家庭现象，从而改变公众的看法并破坏国家言论。恐怖 这部电影标志着西方有关恐怖主义的电影的重大突破，因为它通过恐怖分子的视角来描述故事，并绘制出不同的制图想象力，将注意力从分散，网络化或去领土化的恐怖主义概念转移开来，恐怖位于内部区域的地理，并表现为破裂或“无常”状态。法国制造避免了永久性的二进制（“我们”与“他们”的言论）的陷阱，以传达出关于社会结构和当今时代所面临的日益增长的威胁的明确信息。通过将目光从更笼统的“恐怖主义”主题转移到关注单个恐怖分子以及激进化和群体动力的过程，该电影旨在解开恐怖分子的概念并消除恐怖主义的景象，以便阐明更为复杂的事物。反映因果关系，历史和时间性的反思叙事。