Oracles of Suburbia
Question 1
Grands ensembles d’habitation is described as the large scale housing projects high rise. The high housing rise is particularly pressured by modernity which works in ensuring that urban development occurs more fast to utilize the existing resources, knowledge , space and the necessity for growth (Hesnsmam, 2013).
Question 2
According to Hensman , Paquot made a note on the Banlieue cinematic of the early years of 1960s which was overwhelmingly a site for construction since its world was being disturbed by the pressures of modernity (Hesnsmam, 2013). This is particularly discernible in the attempt by Pialat to utilize the expansion of suburban’s as the symbol for the individual improvement and innocent loss (Hesnsmam, 2013). Hensman connects the representation of Banlieue during the 1960s and after by analysis French and film studies . he stated that according to Ginette Vincendeau banlieue was depicted as populist idyllic sites up to the 1960s that offered relief from the city characterized with high noises. From the 1960s forward French films responded to banlieue via aesthetic means in that the suburbs offered backdrop to differently concerns via sociological means that painting banlieue as directly or indirectly a space problem (Hesnsmam, 2013).
Question 3
According to Hensman Jacques 1958 Tati’s film Mon Oncle developed fresh suburb developments in Creteil with further old fashioned Banlieue adjacent of Saint-Maur (Hesnsmam, 2013). The film is based on the relation amid odd Monsier and his nephew who lives in a modernized suburb with the rich parents (Hesnsmam, 2013). In the case Saint-Maur is represented as the time honored celebration French social grounds such as a restaurant and a marketplace animation that is complete and housing is featured via the apartment building of that has warren stairs and corridors. Contrarily Creteil is explored via its privatized spaces particularly the modern villa that is occupied by Madame Arpel Hulot’s sister (Hesnsmam, 2013). While both Creteil and Saint-Maur are the products of modern and urban planning it is just in the case’s latter that the attention of Tati is drawn to the planning as the negative social transformations changes. Suburban housing portrayal in Mon-Oncle suggests strongly that different living surroundings creates different residents despite the fact that grand ensembles are largely not shown (Hesnsmam, 2013).
Question 4
Tati’s film is a low contribution to the debate that surrounds the suburbanization of the working class population in Paris and it is more of a Americanization commentary of everyday life’s bourgeois (Hesnsmam, 2013). In that for instance Gerard’s parents may act as a representation of different emerging stereotypes which shows flexibility and the practice management that is American based as a functional necessity. The film therefore offers a visual manifestation of economic modernization forces rather than a fresh specification of suburban way of living (Hesnsmam, 2013).
Question 5
De La Pattellière’s and Rue des prairies are related by Hensman in that they explored the modernity in fresh from the perspective of banlieue. De La Pattellière’s creates an establishments of the binarisation explicit amid the prosperous social networks and the unknown atomized housing spaces (Hesnsmam, 2013). Most of the issues that are explored in Rue des Prairies popped after WW2 when tensions rose amid the rising generation of influential intellectuals and technocrats who viewed technocracy as democracy’s perversion (Hesnsmam, 2013). The combination of happiness and uncertainties that were idealized by the working community in France led to the rise of the reconstruction process with the implication that grands ensembles was a common enemy (Hesnsmam, 2013).
References
Hesnsmam, R. (2013). Oracles of Suburbia: French Cinema and portrayal of Paris Banlieues 1958- 1968. Association for the Study of Modern and Contemporary France. Pdf
