Open Access. Powered by Scholars. Published by Universities.®
Articles 1 - 2 of 2
Full-Text Articles in Other Film and Media Studies
Rejecting The Ethnic Community In Little Caesar, The Public Enemy, And Scarface, Bryan Mead
Rejecting The Ethnic Community In Little Caesar, The Public Enemy, And Scarface, Bryan Mead
Journal of Religion & Film
Film scholars commonly suggest that the 1930s American movie gangster represented marginalized Italian and Irish-American film-goers, and that these gangsters provided a visual and aural outlet for ethnic audience frustrations with American societal mores. However, while movie gangsters clearly struggle with WASP society, the ethnic gangster’s struggle against his own community deserves further exploration. The main characters in gangster films of the early 1930s repeatedly forge an individualistic identity and, in consequence, separate themselves from their ethnic peers and their family, two major symbols of their communal culture. This rejection of community is also a rejection of the distinctly Italian …
From Marseille To Mecca: Reconciling The Secular And The Religious In Le Grand Voyage (The Big Trip) (2004), Yahya Laayouni
From Marseille To Mecca: Reconciling The Secular And The Religious In Le Grand Voyage (The Big Trip) (2004), Yahya Laayouni
Journal of Religion & Film
By the early 1980’s, a generation of children of Maghrebi (North African) parents born and/or raised in France started to become more visible, particularly after they organized a march in 1983 from Marseille to Paris under the slogan “For Equality and against Racism.” This generation was introduced to the public as the “Beur generation.” The word ‘Beur,’ coined by this generation, is the result of a Parisian back slang and means ‘Arab.’ It quickly gained popularity and has been used to refer to children of Maghrebi origins living in France. As much as it has been hard for the Beurs …