- Title Pages
- List of illustrations
- Notes on contributors
- 1 On the origins of the banlieue film, 1930–80
- 2 Lumière, Méliès, Pathé and Gaumont: French filmmaking in the suburbs, 1896–1920
- 3 Roads, rivers, canals: spaces of freedom from Epstein to Vigo
- 4 The banlieue in French cinema of the 1930s
- 5 Julien Duvivier and inter-war ‘banlieutopia’
- 6 Margins and thresholds of French cinema: <i>Ménilmontant</i>, <i>Le Sang des bêtes</i>, <i>Colloque de chiens</i>
- 7 Georges Franju and the grotesque genius of the banlieue
- 8 Tati, suburbia and modernity
- 9 A crucible of emotions: Maurice Pialat’s <i>L’Amour existe</i>
- 10 Godard’s suburban years
- 11 The banlieue wore black: post-war French <i>polar</i>, from Becker to Corneau
- 12 Erasing the suburbs: the <i>grands ensembles</i> in documentary film and television, 1950–80
- 13 Elusive happiness: screening France’s new towns after 1968
- 14 Towers of evil: Jean-Claude Brisseau
- 15 What’s left of the ‘red suburb’? Hervé Le Roux’s <i>Reprise</i> as case study
- (p.1) Introduction
- Screening the Paris suburbs
- Manchester University Press
On the heels of the international hit La Haine (Hate, Mathieu Kassovitz, 1995), France at the close of the millennium saw a spate of bold, self-styled ‘hood’ films set in suburban council estates that critics were prompt to name – justifiably so – ‘films de banlieue’ (...
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