Looking at Muslims: the visibility of Islam in contemporary French cinema

ABSTRACT

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 given rise to active hostility to any public expression of religious or cultural difference, particularly on the part of Muslims. Cinematic representations of Muslims, and particularly of the children of migrants from the Maghreb, have, therefore, since the mid-1980s, been treated with caution in order not to alienate mainstream Franco-French audiences and to facilitate the second generation's integration into French society. However, the five feature films addressed here—two mainstream popular comedies, Mauvaise foi/Bad Faith (2006) and L'Italien/The Italian (2010), and three independent, low budget, auteur-led, realist films, Dans la vie/Two Ladies (2008), Dernier maquis (2008) and La Désintégration/Disintegration (2012)—offer new narratives that challenge fears of Islam by foregrounding the protagonists' negotiation of their Muslim identities in a French context and, by implication, argue for the integration of Islam as a legitimate referent of French identity. However, their construction of Islam does not extend to positive representations of young veiled women, and they thus still risk confirming the oppressive majority view that certain practices associated with Islam, such as the wearing of the veil, are incompatible with the secularism of the French Republic.     

The Conviction of Dr. Crippen: New Forensic Findings in a Century‐Old Murder

Abstract: Dr. Hawley Crippen was accused and convicted of murdering his wife in London in 1910. Key to the conviction was microscopic analysis of remains found in the Crippen’s coal cellar, which were identified as Cora Crippen based on a scar she was said to have. Dr. Crippen was hanged, always proclaiming his innocence. In this study, genealogical research was used to locate maternal relatives of Cora Crippen, and their mitochondrial haplotypes were determined. Next, one of the pathology slides of the scar was obtained, DNA was isolated, and the haplotype was determined. That process was then repeated. Finally, both DNA isolates were assayed for repetitive elements on autosomes and repetitive elements specific to the Y chromosome. Based on the genealogical and mitochondrial DNA research, the tissue on the pathology slide used to convict Dr. Crippen was not that of Cora Crippen. Moreover, that tissue was male in origin.