ABSTRACT

The Parisian banlieue is often represented in cinema (in movies such as La Haine) and considered by academic literature (Austin, Fredette) as a space of hypermasculinity. However, in her analysis of the evolution of the banlieue film over the past 20 years, Lauren Reeck identifies a ongoing process of feminization of the banlieue. To contribute to the conversation about the role, function and consideration of female bodies in this marginalized space, I offer a comparison of two French movies, Bande de Filles (Girlhood) and Divines, in order to study two attempts to rehabilitate the female body in the banlieue. Focusing on the access to orality, this contribution aims at analysing the different performances of femininity, whether they be hybrid or corporal performances, which the female characters resort to in both movies to reclaim a voice of their own, as well as their feminine identity. Sciamma and Benyamina thus try to shed light onto various systems oppressing female bodies in the banlieue, situating their works in a growing cinematographic corpus, at the intersection of gender studies, post-colonial studies and political sociology.

摘要

巴黎郊区经常出现在电影中（如La Haine 之类的电影），并被学术文献（奥斯汀、弗雷戴特）视为超男子气概的空间。然而，在她的演变分析暴力街区电影在过去20年中，劳伦Reeck标识女性化的一个持续的过程，暴力街区。为了促进关于女性身体在这个边缘化空间中的角色、功能和考虑的对话，我提供了两部法国电影Bande de Filles（少女时代）和Divines 的比较，以研究在在暴力街区. 专注于口述的途径，这篇文章旨在分析女性气质的不同表现，无论是混合表演还是肉体表演，两部电影中的女性角色都诉诸于这些表演来​​重新获得自己的声音，以及她们的女性身份。夏马和Benyamina从而尝试到各种系统中压迫女性的身体，以揭示暴力街区，情境中不断增长的电影文集自己的作品，在性别研究，后殖民研究和政治社会学的交叉点。