Heteroglossia in and of Film: La Haine

Yıl 2019, Sayı: 32, 38 - 53, 31.12.2019

Ayca Tunc Cox Oumima Jaidane

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

Öz

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.

Anahtar Kelimeler

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

Filmde Heteroglossia Filmin Heteroglossia’sı: La Haine

Öz

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. 

Anahtar Kelimeler

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

Kaynakça

• AI News. (1996). 16 Mayıs 2019 tarihinde https://www.amnesty.org/download/Documents/172000/nws210051996en.pdf adresinden edinilmiştir.
• Austin, J. F. (2009). Destroying the Banlieue: Reconfigurations of Suburban Space in French Film. Yale French Studies, (115): pp. 80-92.
• Bailey, B. (2012). Heteroglossia. M. Martin-Jones, A. Blackledge and A. Creese (eds.). The Routledge Handbook of Multilingualism. London: Routledge, pp. 499-507.
• Bakhtin, M. M. (1983). The Dialogic Imagination: Four Essays. M. Holquist (ed.). Austin: University of Texas Press.
• Bakhtin, M. M. (2003). Problems of Dostoevsky’s Poetics. P. Morris (ed.). The Bakhtin Reader. New York: Oxford University Press, pp. 89-96;103-113.
• Bhabha, H. K. (1994). The Location of Culture. London: Routledge.
• Barwick, C. and Beaman, J. (2019). Living for the Neighbourhood: Marginalization and Belonging for the Second-generation in Berlin and Paris. Comparative Migration Studies, 7(1): pp. 1-17.
• Definition of Creole. (n.d.). 10 Haziran 2019 tarihinde https://www.collinsdictionary.com/dictionary/english/creole adresinden edinilmiştir.
• Demenchonok, E. (2014). Bakhtin’s Dialogism and Current Discussions on the Double-Voiced Word and Transculture. E. Demenchonok (ed.). Intercultural Dialogue. Newcastle upon Tyne: Cambridge Scholar Publishin, pp. 81-138.
• Doran, M. (2004). Negotiating Between Bourge and Racaille: Verlan as Youth Identity Practice in Suburban Paris. P. Aneta and A. Blackledge (eds.). Negotiation of Identities in Multilingual Contexts. Clevedon: Multilingual Matters LTD, pp. 93-124.
• Fukunaga, Y. (2017). Film, Bakhtin and the Dialogics: A Metalinguistic Approach to Film as Communication. Bulletin in Faculty of Letters Ferris College, (52): pp. 59-76
• Hayward, S. (2005). Introduction: Defining the National of a Country’s Cinematic Production. S. Hayward (ed.). French National Cinema. London: Routledge, pp. 1-16.
• Hedetoft, U. (2000). Contemporary Cinema: Between Cultural Globalisation and National Interpretation. Hjort, M and Mackenzie, S. (eds.). Cinema and Nation. London: Routledge, pp. 278-297.
• Higbee, W. (2005). Towards a Multiplicity of Voices: French Cinema’s Age of the Postmodern. S. Hayward (ed.). French National Cinema. London: Routledge, pp. 293-327.
• Holm, J. A. (2000). An Introduction to Pidgins and Creoles. Cambridge: Cambridge University Press.
• It is Hard for me to Play Romantic. (2001). 1 Haziran 2019 tarihinde https://www.theguardian.com/film/2001/aug/06/edinburghfestival2001.edinburghfestival adresinden edinilmiştir.
• King (eds.). Rioting in the UK and France. London: Willian Publishing, pp. 27-38.
• Kassovitz, M. and Sarkozy, N. (2007). La haine: Kassovitz vs. Sarkozy, 18 Haziran 2019 tarihinde https://www.criterion.com/current/posts/476-la-haine-kassovitz-vs-sarkozy adresinden edinilmiştir.
• LA Bella, L. (n.d.). 1 Haziran 2019 tarihinde https://www.wordsinthebucket.com/la-haine-mathieu-kassovitz adresinden edinilmiştir.
• Loshitzky, Y. (2005). The Post-Holocaust Jew in the Age of Postcolonialism: La Haine Revisited. Studies in French Cinema, 5(2): pp. 137-147.
• Morris, P. (2003a). Introduction. P. Morris (ed.). The Bakhtin Reader. New York: Oxford University Press, pp. 1-24.
• Morris, P. (2003b). Reported Speech as Index of Social Change. P. Morris (ed.). The Bakhtin Reader. New York: Oxford University Press, pp. 61-62.
• Morris, P. (2003c). Social Heteroglossia. P. Morris (ed.). The Bakhtin Reader. New York: Oxford University Press, pp. 73-74.
• Naficy, H. (2001). An Accented Cinema: Exilic and Diasporic Filmmaking. New Jersey: Princeton University Press.
• Nettelbeck, C. (2009). Kassovitz’s “France d’en bas” and Sarkozy’s “racaille”: Art and the Alienation of Politics in Contemporary France, French History and Civilization. Papers from the George Rude Seminar, 25 Nisan 2019 tarihinde https://h-france.net/rude/wp-content/uploads/2017/08/vol2_Nettelbeck_Final_Version_2.pdf adresinden edinilmiştir.
• Oscherwitz, D. and Higgins, M. E. (2007). Historical Dictionary of French Cinema. Lanham: Scarecrow Press.
• Petterson, D. (2016). Echoes of Poetic Realism in Matthieu Kassovitz’s La Haine. Cincinnati Romance Review, 39: pp. 27-57.
• Prédal, R. (2002). Le Jeune Cinéma français. Paris: Nathan.
• Schneider, C. L. (2008). Police Power and Race Riots. Politics and Society, 36: pp. 133-159.
• Shohat, E. and Stam, R. (1994). Unthinking Eurocentrism. London: Routledge.
• Siciliano, A. (2007). La Haine: Framing the Urban Outcasts. ACME: An International E-Journal for Critical Geographies, 6(2): pp. 211-230.
• Stafford, R. (2012). La Haine. ITP Publications.
• Tarr, C. (1997). French Cinema and Post-Colonial Minorities. A.G. Hargreaves and M. McKinney (eds.). Postcolonial Cultures in France. London: Routledge, pp. 59-83.
• Thomson, C. (1990). Mikhail Bakhtin and The Epistemology of Discourse. Critical Studies, 2(1/2): pp. 69-74.
• Vincendeau, G. (2000). Designs on the Banlieue: Matthieu Kassovitz’s La Haine. S. Hayward and G. Vincendeau (eds.). French Film: Texts and Contexts. London: Routledge, pp. 310-327.
• Vincendeau, G. (2005). Ciné-files: The French Film Guides, La Haine. London: I.B. Tauris.
• Vincendeau, G. (2012). La Haine and after: Arts, Politics, and the Banlieue. 16 Mayıs 2019 tarihinde https://www.criterion.com/current/posts/642-la-haine-and-after-arts-politics-and-the-banlieue adresinden edinilmiştir.
• Vološinov, V. N. (2003). Marxism and the Philosophy of Language. P. Morris (ed.). The Reader. New York: Oxford University Press, pp. 26-37; 62-73.
• Williams, J. S. (2016). Encounters with Godard: Ethics, Aesthetics and Politics. Albany: Sunny Press.