Spaces of Critique & Transformation in Bande de filles
品包括 French War Films and National Identity ( Cambria , 2010 ) 、 “ The Spiraling Narrative Dialectic of La Vie en Rose ,” ( Rowan & Littlefield , 2013 ) 和 “ False Idyll : Siri ’ s Intimate Enemies " ( De Gruyter , 2018 ) 。
Michel de Certeau ’ s distinction between “ space ” ( espace ) and “ place ” ( lieu ) is a fascinating one . A place is characterized by an order in which elements are distributed in “ proper ” coexistence ; it is a concept ruled by stability , its contents set in relation to the powers that be . In contradistinction to this entropic arrangement , space is an effect that arises from a location ’ s polyvalency , its elements in constant movement , conflict and rearrangement . 1 But if place is a stable set of coordinates that keep things “ where they are supposed to be ,” what kind of reversals may occur in a nonplace ? And if space is a complex equation of time , speed and direction , what combination may give rise to any-space-whatever ? What if these notions coincided , and therein one were to find a young black girl as full of potential as she is of uncertainty ? This is — or could be — Marieme , the protagonist of Céline Sciamma ’ s 2014 coming-of-age film , Bande de filles , which vividly depicts places whose properties are so overdetermined as to be oppressive , but which also portrays spaces whose vectors are so fluid that their state is one of potential , if not perpetual , transformation .
Marieme is a French teenager of African descent and lives in a poor suburban apartment complex outside of Paris , one of the ( in ) famous cités . She struggles academically and socially in a milieu where the male gaze is made manifest , her mother
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