Abstract The deployment, reversal and reiteration of stereotypes constitute one of the major comic devices of the top three French box-office comedy ‘hits’ of recent years: Bienvenue chez les Ch’tis (2008), Intouchables (2011), Qu’est-ce qu’on a fait au Bon Dieu ? (2014). These comedies follow the same pattern: their contrasting protagonists, in terms of class, regional origin or ethnicity, manage to forget their prejudices and to become ‘friends’ in the classic tradition of a feel-good film. Although age-old, this scheme is rejuvenated by issues of ethnicity, in a contemporary French context characterised by the transformation of French society into a multicultural and multi-ethnic society, by the resistance to that transformation and by the emergence on the big screen of ethnic actors. This article examines how the use of stereotypes, in films that claim to promote alterity and diversity, turns out to be extremely ambiguous. It demonstrates how these narratives, whether they challenge or reiterate prejudiced notions of ethnic and regional identity, leave gender roles and class domination unquestioned. Finally, it casts light on elements that may challenge the reactionary aspects of the plot and characterisation, such as the performance of the actors and the opening up of mainstream French comedy to minorities.

中文翻译：

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当代法国流行喜剧中阶级，种族和性别的刻板印象：从Bienvenue chez les Ch'tis（2008）和Intouchables（2011）到Qu'est-ce qu'on fait au Bon Dieu？（2014年）

摘要刻板印象的部署，逆转和重复构成了近年来法国票房喜剧三大热门影片的主要喜剧装置之一：Bienvenue chez les Ch'tis（2008），Intouchables（2011）和Qu'est -ce qu'on fait au Bon Dieu吗？（2014）。这些喜剧遵循相同的模式：在阶级，地区出身或种族方面，他们的对比主角设法忘记偏见，并成为一部好电影的经典传统中的“朋友”。尽管这一计划历史悠久，但在当代法国背景下，种族问题使这一计划焕然一新，其特征是法国社会向多元文化和多民族社会转变，对这种转变的抵制以及在大屏幕上的崛起。民族演员。本文研究了刻板印象的用法，在声称能够促进改变和多样性的电影中，结果极为模棱两可。它说明了这些叙事如何挑战或重申偏见的种族和地区认同概念，如何使性别角色和阶级统治毫无疑问。最后，它揭示了可能挑战剧情和人物形象反动方面的元素，例如演员的表演和主流法国喜剧向少数群体的开放。