The exile in the

cinema

There are recurring themes which irrigate

the world cinema for a long time and among

these last ones, it is one more particularly

who(which) was well imperative beyond the

limits of the only film art, that of the exile. In

full current events with the exits moved

closer to Welcome and The Visitor, its

access has nothing harmless and reveals

just as much the world which it reveals that

those who live there.

Indeed, if we consider the last exits which evoke him or

the history of the medium, the exile is inescapable. That

we remember simply that the classic American cinema

owes to the departures of the film-makers German

expressionists in the 1930s or what we still dive back

within more black hours of the French collaboration

when Hollywood welcomed France of the cinema,

everything incites us to see the exile as a means for the

professionals of the cinema to go to exercise in safety

their profession somewhere else. And it without that we

mark difference with the others nor than host countries

suffer from it. Connected to the writing of its history, the

exile is thus a major affair for the cinematographic art,

his admirers and his makers.

Actually, between the wholesome exile and what

some people call in peacetime the effects of a certain

globalization, it is the cinema itself who possesses in

the genes, the fiber of the departure and the need of

in to see again

To think of the cinema of the exile it is to approach

above all that of quite the physical or symbolic

violence which accompany any immigration.

Le parrain II,

de Francis Ford

Coppola, 1974

L’émigrant, de

Charlie Chaplin,

1917

In these two movies as in the

others, the exile is evoked by

a boat loaded with persons

there having left their

country to find the freedom

(arrived in ElIS- island in New

York with view of the statue

of Liberty, or the hope of an

Eden

I. Creation in exile

film-makers in exile

Forced film-makers has

to leave their country

Political exile

Economic exile …

Jafar Panahi

The director was imprisoned since March 1st, 2010

in Iran, while he had to go as member of the jury to

the Cannes film festival.

The film-maker is nevertheless recognized

worldwide. Distinguished on numerous occasions:

in the Venice Mostra (Golden lion for The Circle in

2000) in particular, as well as in Berlinale (Bear of

silver in 2006 for Offside). But also in Cannes,

twice. He obtained in 1995, the Price of the Golden

Camera for The white Ball then in 2000 the

price(prize) of the jury Certain Glance with The

purple Gold.

The exile release

mechanism of creation

Rithy Panh –

Cambodge

" The slightest evil for

an exile, it is to

manage to exploit it "

Persépolis, Marjane Satrapi, Iran

Rue Santa Fé, de Carmen Castillo -

Chili - 2007

Exiled works: it is movies

which are forbidden in the

country concerned by the

theme

Mobutu roi du

Zaire, de Thierry

Michel, 1999

Afrique 50, de René Vautier,

Sankara, l’homme intègre,

de robin

shuffield

Téhéran, de

Nader T.

Homayoun

Film-makers of the exile

How to film the exile?

Works of exiled film-makers

« … This estrangement allows to see its

country, its past, its history with an a little

bit foreign glance … " Hab. Sissako

The film-maker Marjane Satrapi

approaches the theme of the

identity and the exile, by

positioning in the center of the

story and behind the camera

« Eden on the West tent to make echo in the

route, in the wandering, in the history of those

- Yesterday it was ourselves or our fathers

and mothers - which cross the earth, defy

oceans and uniforms in search of a roof.

Elias's history is not the one of Ulysses, either

that of Jean-Claude, or mine. But I recognize

in Elias, these Foreigner which is not Foreign

to me... » Costa-gravas

Life on earth, de A.

SISSAKO

Back to the country

Be here and somewhere else

Waiting happiness,

A. Sissako

Migrations

The intervening period

The character of the exilee

An uncalled-for body, plunged outside

its natural environment, quartered

between two universes, two

cultures, two contradictory

aspiration

" What I learn far from you is

it worth that what I forget

of us? “

The director Sissako wonders in a letter

which he sends to his father.

Works of European film-makers

Militant act, political commitment, the cinema

as the weapon …

Theme of the immigration, the racism …

social Cinéma

Ken LOACH:

« It’s a free world »

Les frères Dardenne

« Le silence de

Lorna »

Welcome, de Philippe Lioret

The directors watch often the difficulty of the

immigrant has to be accepted by the local population

Ex :In Calais, Bilal , Kurdish emigrating young

person without paper, wants to go in England to find

his Kurdish girlfriend, Mina He embarks aboard a

truck with other migrants but it’s too difficult to reach

Gb by this way..

He decides then to take lessons of swimming to

swim across la Channel . He goes to the municipal

swimming pool where he meets Simon, melancholic

swimming coach. So begin the learning of the

swimming.

Film-makers' works children of

exiles …

Exile and memory

Identical search

Indigènes,

de Rachid

Bouchareb

OTHERS…

Exils,

Tony

Gatlif,

2004

Atlantiques, de Mati Diop

Bibliography

- Le Monde, 22 sept 2009

- Diverse film reviews:

Les cahiers du Cinéma

PositiF

-L’express, 28 avril 2010

-

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