Transnational blackface, neo-minstrelsy and the ‘French Eddie Murphy’ in Intouchables.
The 2011 French filmIntouchablesis an interracial buddy film about a black caregiver from the suburbs and a quadriplegic white aristocrat. Éric Tolédano and Olivier Nakache’s film broke box office records in France and abroad, becoming the second highest grossing French film of all time in domestic...
| Publicado en: | Modern & Contemporary France Vol. 24; no. 1; pp. 51 - 70 |
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| Formato: | Film/TV Criticism and Review |
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Taylor & Francis Ltd
Feb2016
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=ssf&AN=112453627&site=ehost-live header: @attributes: shortDbName: ssf uiTerm: 112453627 longDbName: Social Sciences Full Text (H.W. Wilson) uiTag: AN controlInfo: bkinfo: jinfo: jid: 09639489 55N jtl: Modern & Contemporary France issn: 09639489 maglogo: N pubinfo: dt: Feb2016 vid: 24 iid: 1 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 112453627 10.1080/09639489.2015.1092430 ppf: 51 ppct: 19 formats: fmt: – @attributes: type: T db: hlh ui: 112453627 – @attributes: type: P db: hlh ui: 112453627 tig: atl: Transnational blackface, neo-minstrelsy and the ‘French Eddie Murphy’ in Intouchables. aug: au: Pettersen, David affil: University of Pittsburgh, French and Italian, Pittsburgh, PA, USA su: Intouchables (Film) Toledano, Éric Nakache, Olivier Buddy films French films Black people in motion pictures sug: subj: Buddy films French films Black people in motion pictures Intouchables (Film) Toledano, Éric Nakache, Olivier ab: The 2011 French filmIntouchablesis an interracial buddy film about a black caregiver from the suburbs and a quadriplegic white aristocrat. Éric Tolédano and Olivier Nakache’s film broke box office records in France and abroad, becoming the second highest grossing French film of all time in domestic release and the most successful non-English film on the export market. However, the film’s critical reception was mixed; some celebrated the film’s social conscience while others denounced its racism. In this article, the author analyses the film’s treatment of race, specifically the ways in which Tolédano and Nakache draw on tropes of American blackface, neo-minstrelsy and 1980s Hollywood interracial buddy comedies starring Eddie Murphy to visualise racial inequality and discrimination in contemporary France. The author tracks the ways in which these American tropes align and do not align with representations of cultural diversity and the banlieues in France, and he ultimately argues that the film’s financial success and ambivalent reception track with the contradictory politics of American tropes for representing blackness. pubtype: Academic Journal doctype: Film/TV Criticism and Review src: R language: English refInfo: copyright: @attributes: flag: N holdings: @attributes: islocal: N |
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