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Queer Roots for the Diaspora: Ghosts in the Family Tree by Jarrod Hayes (review)

Queer Roots for the Diaspora: Ghosts in the Family Tree by Jarrod Hayes (review) 500 french forum winter 2017 vol . 42 , no . 3 friendship that Mai contends makes Guediguian’s oeuvre so remarkable. Certain works get more attention than others, including the director’s 1981 ´ ´ debut Dernier ete, the breakout success Marius et Jeannette (1997), La ville est tranquille (2001), and to a lesser extent Voyage en Armenie (2006), the film the addresses Gue´diguian’s rediscovery of his Armenian roots. In the limited amount of space dedicated to each of the 18 films, Mai pays partic- ular attention to how the politics of resistance interact with the changing lives, livelihoods, and landscapes of Marseille. A number of scenes set in places of communion and community are adroitly analyzed in greater detail, with a focus on how relationships are built and sustained in some of the privileged spaces in Gue´diguian’s cinema: at shared tables, in court- yard and bars, and the wider community, from the narrow streets of L’Es- taque to the sweeping vistas of Marseille’s old port. Robert Gue ´diguian provides a welcome contribution to the study of the work of a prolific and politically important French director. It is essential reading for scholars of contemporary French cinema as well as http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png French Forum University of Nebraska Press

Queer Roots for the Diaspora: Ghosts in the Family Tree by Jarrod Hayes (review)

French Forum , Volume 42 (3) – Aug 17, 2018

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Publisher
University of Nebraska Press
Copyright
Copyright © 2008 French Forum, Inc.
ISSN
1534-1836

Abstract

500 french forum winter 2017 vol . 42 , no . 3 friendship that Mai contends makes Guediguian’s oeuvre so remarkable. Certain works get more attention than others, including the director’s 1981 ´ ´ debut Dernier ete, the breakout success Marius et Jeannette (1997), La ville est tranquille (2001), and to a lesser extent Voyage en Armenie (2006), the film the addresses Gue´diguian’s rediscovery of his Armenian roots. In the limited amount of space dedicated to each of the 18 films, Mai pays partic- ular attention to how the politics of resistance interact with the changing lives, livelihoods, and landscapes of Marseille. A number of scenes set in places of communion and community are adroitly analyzed in greater detail, with a focus on how relationships are built and sustained in some of the privileged spaces in Gue´diguian’s cinema: at shared tables, in court- yard and bars, and the wider community, from the narrow streets of L’Es- taque to the sweeping vistas of Marseille’s old port. Robert Gue ´diguian provides a welcome contribution to the study of the work of a prolific and politically important French director. It is essential reading for scholars of contemporary French cinema as well as

Journal

French ForumUniversity of Nebraska Press

Published: Aug 17, 2018

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