Spaces of Critique & Transformation in Bande de filles
whatever . For when this element appears in conventional narrative films , it often establishes an “ intensive grounding of the characters [ who traverse ] its coordinates from perception to action ” ( Deamer 86 ). Indeed , any-spaces-whatever often emerge when a character makes an existential choice , “ choosing to choose ” ( Bogue 50 ).
CONCLUSION
Sciamma herself has said a number of interesting things
about what she wanted to do with Bande de filles and how she went about this cinematic project . The film was always a matter of critical engagement , and place and space were integral to its critique : “ It was a conscious decision that the form of engagement of the film would include choices about mise-en-scène , including color , creating beautiful images , and circulating motifs ” ( Sciamma , “ Je vois ”). 8 The aesthetics of place and space were essential for Sciamma because they were tied to the people at the center of her story : “ With this film , I wanted to survey ( arpenter ) the space . I found nothing more interesting in France today than to watch these girls that I passed every day in the streets . I wanted to speak with them , to learn to know them ” ( Laïreche ). 9 There are two interesting things for us to consider with this last statement . Firstly , the term arpenter is ambiguous in French ; it can mean both “ to take the measure ” of a space , but also to “ roam ” it , and Sciamma ’ s camera both roams and measures the Parisian landscape . Secondly , Sciamma depicts her ultimate objective , to “ learn to know ” the young women of the cités ( apprendre à les connaître ), in a fashion that replaces masculinist and colonialist notions of surveillance , violence , and control with a humble acknowledgement of the humanity of her subject ( s ), setting up Bande de filles to acknowledge Chandra Talpade Mohanty ’ s criticism of “ the production of
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