https://orcid.org/0000-0002-4301-6729
Filmography
- Bande de filles, 2014. Céline Sciamma, France.
- Le Bidule, 1999–2000 (TV series, Canal+). Isabelle Ribotta, Didier Richarth, Olivier Babinet and Olivier Laneurie, France.
- Divines, 2016. Houda Benyamina, France.
- Entre les murs, 2006. Laurent Cantet, France.
- La Haine, 1995. Mathieu Kassovitz, France.
- Life on Earth, Tomorrow's World, 2014. Olivier Babinet, France.
- Ma 6-T va crack-er, 1997. Jean-François Richet, France.
- Mémoires d’immigrés, l’héritage maghrébin, 1997. Yamina Benguigui, France.
- Scarface, 1983. Brian de Palma, USA.
- Swagger, 2016. Olivier Babinet, France.
- Le Thé au harem d’Archimède, 1985. Mehdi Charef, France.
References
- Ben-Youssef, F., and O. Babinet. 2018. “Swagger: Interview with the Filmmaker.” Dialogues (NYU Shanghai video series). Accessed 8 November 2019. https://www.youtube.com/watch?v=MB4BBZ2pG5M
- Bhabha, H. 1994. The Location of Culture. London: Routledge.
- Blanchard, P., N. Bancel, and S. Lemaire, eds. 2005. La Fracture coloniale: La société française au prisme de l’héritage colonial. Paris: La Découverte.
- Bluher, D. 2001. “Hip-Hop Cinema in France.” Camera Obscura 46: 77–97. doi:10.1215/02705346-16-1_46-77.
- Bretillon, C. J. 2018. “‘Double Discours’: Critiques of Racism and Islamophobia in French Rap.” In Postmigratory Cultures in Postcolonial France, edited by K. Kleppinger and L. Reeck, 147–165. Liverpool: Liverpool University Press.
- Christopher, R. 2019. Dead Precedents: How Hip-hop Defines the Future. London: Repeater Books.
- Cormack, M. 2006. “The Pleasures of Ambiguity: Using Classical Music in Film.” In Changing Tunes: The Use of Pre-existing Music in Film, edited by P. Powrie and R. Stillwell, 19–30. London: Ashgate.
- Derderian, R. 2004. North Africans in Contemporary France: Becoming Visible. Hampshire: Palgrave.
- Dikeç, M. 2007. Badlands of the Republic: Space, Politics, and Urban Policy. Oxford: Blackwell Publishing.
- Galy-Ramounot, M. 2016. “Houda Benyamina: J’ai montré la cité comme je la vois, pas comme elle est fantasmée.” Madame Figaro, August 31. Accessed 8 November 2019. http://madame.lefigaro.fr/celebrites/divines-houda-benyamina-jai-montre-la-cite-comme-je-la-vois-290816-116058
- Hargreaves, A. G. 1996. “A Deviant Construction: The French Media and the ‘Banlieues’.” New Community 22 (4): 607–618.
- Hargreaves, A. G. 2013. “Banlieue Blues.” In The Cambridge Companion to the Literature of Paris, edited by A.-L. Milne, 212–227. Cambridge: Cambridge University Press.
- Harsin, J. 2015. “Cultural Racist Frames in TF1’s French Banlieue Riots Coverage.” French Politics, Culture & Society 33 (3): 47–73. doi:10.3167/fpcs.2015.330303.
- Higbee, W. 2007. Mathieu Kassovitz. Manchester: Manchester University Press.
- Jones, C. 2012. “It’s Official: Jay-Z Invented Swag.” Dummy, April 2. Accessed 8 November 2019. https://www.dummymag.com/news/it-s-official-jay-z-invented-swag/
- Lapeyronnie, D. 2005. “La Banlieue comme théatre colonial, ou la fracture colonial dans les quartiers.” In La Fracture coloniale: La société française au prisme de l’héritage colonial, edited by P. Blanchard, N. Bancel, and S. Lemaire, 209–218. Paris: La Découverte.
- Le Parisien. 2013. “Cinéma: Les 1000 visages d’Uda Benyamina.” January 12. Accessed 20 January 2020. http://www.leparisien.fr/essonne-91/cinema-les-1000-visages-d-uda-benyamina-12-01-2013-2473489.php
- Loria, S. 2016. “Divines (entretien).” Accessed 8 November 2019. http://esperluette-sl.fr/conversation/divines-film-houda-benyamina/
- Maalsen, S. 2019. The Social Life of Sound. London: Palgrave Macmillan.
- Miliani, H. 1995. “Banlieues entre rap et raï.” Hommes et Migrations (Musiques des Afriques: Voix Maghrébines et tempos blacks en Europe) 1191: 24–30. doi:10.3406/homig.1995.2533.
- Niang, M.-F. 2019. Identités françaises: Banlieues, féminités et universalisme. Leiden: Brill Rodopi.
- Powrie, P. 2017. Music in Contemporary French Cinema: The Crystal-Song. London: Palgrave Macmillan.
- Powrie, P., and R. Stillwell, eds. 2006. Changing Tunes: The Use of Pre-existing Music in Film. London: Ashgate.
- Rancière, J. 2000. Le Partage du sensible: Esthétique et politique. Paris: La Fabrique.
- Reeck, L. 2018. “Gender and Genre in Banlieue Film, and the Guerilla Film Brooklyn.” Romance Studies 36 (1–2): 76–90. doi:10.1080/02639904.2018.1457829.
- Rose, S. 2016. “Divines Director Houda Benyamina: ‘It’s Better to Make a Film than a Bomb’.” The Guardian, November 10. Accessed 8 November 2019. https://www.theguardian.com/film/2016/nov/10/divines-director-houda-benyamina-its-better-to-make-a-film-than-a-bomb
- Rutherford, J. 1990. “The Third Space: Interview with Homi Bhabha.” In Identity: Community, Culture, Difference, edited by J. Rutherford, 207–221. London: Lawrence & Wishart.
- Simpson, D. 2019. “Azaelia Banks Review: Firebrand Rapper is Capable of Anything.” The Guardian, January 25. Accessed 17 February 2020. https://www.theguardian.com/music/2019/jan/25/azealia-banks-review-o2-ritz-manchester
- Spence, S. 2017. “Hip-hop Aesthetics and La Haine.” Liquid Blackness 4 (7): 96–115.
- Tarr, C. 2005. Reframing Difference: Beur and Banlieue Filmmaking in France. Manchester: Manchester University Press.
- Vincendeau, G. 2000. “Designs on the Banlieue: Mathieu Kassovitz’s La Haine (1995).” In French Film: Texts and Contexts, edited by S. Hayward and G. Vinceneau, 310–327. 2nd ed. London: Routledge.
- Vincendeau, G. 2018. “The Parisian Banlieue on Screen: So Close, yet so Far.” In Paris in the Cinema: Beyond the Flâneur, edited by A. Phillips and G. Vindendeau, 87–99. London: BFI Palgrave.
- Wakeman, R. 2013. “Independent Filmmakers and the Invention of the Paris Suburbs.” French Politics, Culture & Society 31 (1): 84–95. doi:10.3167/fpcs.2013.310105.