Carrie Tarr
Biographic Data
| ID | 694541 |
|---|---|
| NAME | Carrie Tarr |
| GIVEN NAMES | Carrie |
| FAMILY NAME | Tarr |
| SIGNATURE | TARR C |
| AFFILIATIONS | Kingston University |
| VERIFIED | No |
| TOTAL WORKS | 15 |
| TOTAL CITATIONS | 13 |
| AUTHOR COUNT | 14 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 1985 |
| LATEST PUBLICATION YEAR | 2014 |
| H-INDEX | 2 |
Looking at Muslims: The visibility of Islam in contemporary French cinema
Tarr analyses the representation of Islam in five feature films made since 2006 that centre on the changing identities of Muslims in contemporary France. She locates the films within the context of the rise in Islamophobia in France following 9/11 and anxieties about immigration and terrorism, but also in relation to France's troubled postcolonial history and French republican ideology. In particular, the French notion of laïcité (secularism) has…
World Film Locations: Paris
Franco-Arab Dialogues in/between French, Maghrebi-French, and Maghrebi Cinema(s)
Community, identity and the dynamics of borders in Yasmina Yahiaoui's Rue des Figuiers (2005) and Karin Albou's La Petite Jrusalem (2006)
In the context of Republican universalism, the perceived communitarianism of diasporic postcolonial communities in France is considered a threat to the unity and cohesion of the nation. Most films by minority film-makers stress their protagonists' hybrid identity and aspirations towards a form of integration which would recognize the multicultural nature of contemporary postcolonial French society. However, two recent films by minority women film…
Outsider and insider views of Saigon/Ho Chi Minh City: The Lover/L'Amant, Cyclo/Xích lô, Collective Flat/Chung c and Bargirls/Gái nh y
This article addresses representations of Saigon/Ho Chi Minh City in four films made since ? i m i , the opening up of Vietnam to western influences, initiated in 1986. The Lover/L'Amant (1992) is a Franco‐British heritage film which reconstructs the city from a Eurocentric neocolonial perspective, while Cyclo/Xích lô (1995), a French‐funded film made by a France‐based Vietnamese filmmaker, is a contemporary poetic thriller which treats the city …
Introduction French Cinema: ‘Transnational’ Cinema
The aim of this special issue of Modern & Contemporary France is to examine the usefulness of the concept of the ‘transnational’ to French cinema studies and to assess whether the adoption of a tra
Transnational Identities, Transnational Spaces: West Africans in Paris in Contemporary French Cinema
This article analyses the articulation of Paris as a transnational space in a series of French co-productions made since 2000 by filmmakers of both West African and white European origin. The films in question all draw on narratives of displacement which evoke the problematic transcultural experiences of West Africans in France and thereby comment on the larger narrative of globalisation. However, the article also identifies differences of style …
Women, Immigration and Identities in France
Women, Immigration and Identities in France
This book is the first to address the relationship between gender and immigration in contemporary France and the political and personal issues that affect women of immigrant origin. Focusing on the social and political aspects of women’s lives, the book investigates how they are affected by racism and changes in citizenship laws and explores the strategies they use to combat exclusion through movements such as the ‘sans-papiers’. Authors go on to…
L'Eternel retour: Reflection of the Occupation's Crisis in French Masculinity
RELEASED IN OCTOBER 1943, L'ETERNEL RETOUR's re-working of the legend of Tristan and Iseult in a stylized but contemporary setting was the film event of that year. With a screenplay by Jean Cocteau, the film was the most popular film of the entire Occupation period (Crisp). Along with La Nuitfantastique (L'Herbier, 1942) and Les Visiteurs du soir, the most successful film of 1942, it was seen as part of a new trend in French cinema. Like Les Visi…
Re-Writing Peaud'ane: The Figure of the Mother in l'Ombre Du Doute, Rosine and Γ Aura-T-Il De La Neige À Noël
Beurz N the Hood: The articulation of Beur and French identities in he Thé au harem d'Archimède and Hexagone
The Lover's Guide to Indo-China
Films de femmes' Report on the 15th International Women's Film Festival Créteil, 26 March - 4 April 1993
Sapphire’, ‘Darling’ and the Boundaries of Permitted Pleasure
Looking at Muslims: The visibility of Islam in contemporary French cinema
Tarr analyses the representation of Islam in five feature films made since 2006 that centre on the changing identities of Muslims in contemporary France. She locates the films within the context of the rise in Islamophobia in France following 9/11 and anxieties about immigration and terrorism, but also in relation to France's troubled postcolonial history and French republican ideology. In particular, the French notion of laïcité (secularism) has…
Transnational Identities, Transnational Spaces: West Africans in Paris in Contemporary French Cinema
This article analyses the articulation of Paris as a transnational space in a series of French co-productions made since 2000 by filmmakers of both West African and white European origin. The films in question all draw on narratives of displacement which evoke the problematic transcultural experiences of West Africans in France and thereby comment on the larger narrative of globalisation. However, the article also identifies differences of style …
Introduction French Cinema: ‘Transnational’ Cinema
The aim of this special issue of Modern & Contemporary France is to examine the usefulness of the concept of the ‘transnational’ to French cinema studies and to assess whether the adoption of a tra
Beurz N the Hood: The articulation of Beur and French identities in he Thé au harem d'Archimède and Hexagone
Sapphire’, ‘Darling’ and the Boundaries of Permitted Pleasure
Sapphire’, ‘Darling’ and the Boundaries of Permitted Pleasure
Films de femmes' Report on the 15th International Women's Film Festival Créteil, 26 March - 4 April 1993
Beurz N the Hood: The articulation of Beur and French identities in he Thé au harem d'Archimède and Hexagone
The Lover's Guide to Indo-China
L'Eternel retour: Reflection of the Occupation's Crisis in French Masculinity
RELEASED IN OCTOBER 1943, L'ETERNEL RETOUR's re-working of the legend of Tristan and Iseult in a stylized but contemporary setting was the film event of that year. With a screenplay by Jean Cocteau, the film was the most popular film of the entire Occupation period (Crisp). Along with La Nuitfantastique (L'Herbier, 1942) and Les Visiteurs du soir, the most successful film of 1942, it was seen as part of a new trend in French cinema. Like Les Visi…
Re-Writing Peaud'ane: The Figure of the Mother in l'Ombre Du Doute, Rosine and Γ Aura-T-Il De La Neige À Noël
Women, Immigration and Identities in France
This book is the first to address the relationship between gender and immigration in contemporary France and the political and personal issues that affect women of immigrant origin. Focusing on the social and political aspects of women’s lives, the book investigates how they are affected by racism and changes in citizenship laws and explores the strategies they use to combat exclusion through movements such as the ‘sans-papiers’. Authors go on to…
Women, Immigration and Identities in France
Introduction French Cinema: ‘Transnational’ Cinema
The aim of this special issue of Modern & Contemporary France is to examine the usefulness of the concept of the ‘transnational’ to French cinema studies and to assess whether the adoption of a tra
Transnational Identities, Transnational Spaces: West Africans in Paris in Contemporary French Cinema
This article analyses the articulation of Paris as a transnational space in a series of French co-productions made since 2000 by filmmakers of both West African and white European origin. The films in question all draw on narratives of displacement which evoke the problematic transcultural experiences of West Africans in France and thereby comment on the larger narrative of globalisation. However, the article also identifies differences of style …
Outsider and insider views of Saigon/Ho Chi Minh City: The Lover/L'Amant, Cyclo/Xích lô, Collective Flat/Chung c and Bargirls/Gái nh y
This article addresses representations of Saigon/Ho Chi Minh City in four films made since ? i m i , the opening up of Vietnam to western influences, initiated in 1986. The Lover/L'Amant (1992) is a Franco‐British heritage film which reconstructs the city from a Eurocentric neocolonial perspective, while Cyclo/Xích lô (1995), a French‐funded film made by a France‐based Vietnamese filmmaker, is a contemporary poetic thriller which treats the city …
Franco-Arab Dialogues in/between French, Maghrebi-French, and Maghrebi Cinema(s)
Community, identity and the dynamics of borders in Yasmina Yahiaoui's Rue des Figuiers (2005) and Karin Albou's La Petite Jrusalem (2006)
In the context of Republican universalism, the perceived communitarianism of diasporic postcolonial communities in France is considered a threat to the unity and cohesion of the nation. Most films by minority film-makers stress their protagonists' hybrid identity and aspirations towards a form of integration which would recognize the multicultural nature of contemporary postcolonial French society. However, two recent films by minority women film…
World Film Locations: Paris
Looking at Muslims: The visibility of Islam in contemporary French cinema
Tarr analyses the representation of Islam in five feature films made since 2006 that centre on the changing identities of Muslims in contemporary France. She locates the films within the context of the rise in Islamophobia in France following 9/11 and anxieties about immigration and terrorism, but also in relation to France's troubled postcolonial history and French republican ideology. In particular, the French notion of laïcité (secularism) has…
Art (11 works) · Political science (9 works) · History (8 works) · Art history (7 works) · French Historical and Cultural Studies (7 works) · Law (7 works) · Philosophy (7 works) · Sociology (7 works) · Movie theater (6 works) · History (5 works)