Heteroglossia in and of Film: La Haine

Year 2019, , 38 - 53, 31.12.2019

Ayca Tunc Cox , Oumima Jaidane

https://doi.org/10.31123/akil.617741

Abstract

This
article evaluates the film La Haine
(1995) directed by Mathiew Kassovitz with specific reference to the Bakhtinian concept
of “heteroglossia”. The film is still socially and politically significant and
relevant especially in relation to the refugee crisis, the increasing
xenophobia and islamophobia that continue burdening Europe today. The film can
be considered under the rubrics of diasporic cinema, beur cinema, banlieue
cinema and French cinema based on its thematic concerns and its central
characters. This article, however, particularly focuses on the work itself as a
heteroglot, polyglot utterance in the contexts of French film and banlieue
film. Secondly, it analyses the framing of the characters as Others in the
context of post-industrial, post-colonial France by focusing on their
utterances and the social and cultural connotations of these utterances
throughout the film. The close textual analysis reveals that there are several
registers of heteroglossia detectable in this audio-visual narrative,
underlying its multilayered character.

Keywords

Heteroglossia, French cinema, banlieue cinema, beur cinema, cinema of minorties, La Haine

Filmde Heteroglossia Filmin Heteroglossia’sı: La Haine

Abstract

Bu makale Mathiew Kassovitz’in yönetmenliğini üstlendiği La Haine (1995) adlı filmi Bakhtin’in
“heteroglossia” kavramı özelinde analiz etmektedir. Avrupa’yı sarsmaya devam eden mülteci krizinin, yükselen
islamofobinin ve yabancı düşmanlığının gölgesinde film güncelliğini,
dolayısıyla sosyal ve politik önemini korumaktadır. Film, teması ve merkezi
karakterleri itibariyle, “diyasporik sinema”, “beur sinema”, “banliyö sineması”
ve “Fransız sineması” gibi çeşitli tanımlayıcı kategoriler içinde
değerlendirilebilmektedir. Fakat çalışma kapsamında, Fransız sineması ve
banliyö sineması bağlamsal çerçevesi içinde, çok sesli, çok dilli bir anlatı
olarak özellikle filmsel metnin kendisine odaklanılmaktadır. Bu doğrultuda, filmdeki
karakterlerin ifadeleri ve bu ifadelerin sosyal ve kültürel
yananlamları/çağrışımları baz alınarak, sanayi sonrası ve sömürgecilik sonrası
Fransa’sında bu karakterlerin nasıl birer “öteki” olarak çerçevelendiği analiz
edilmektedir. Yapılan detaylı metin analizi, bu görsel işitsel anlatının çok
katmanlı yapısını vurgulayacak şekilde farklı “heteroglossia” kullanımlarının
varlığını göstermektedir. 

Keywords

Heteroglossia, Fransız sineması, banliyö sineması, beur sinema, azınlık sineması, La Haine

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