French Extension - Curriculum Support

Transcription

Support materials HSC 2014–2018
French Extension
Stage 6 Extension
Contents
Copyright and acknowledgments ............................................................................................3
General information ...............................................................................................................4
Introduction to the Extension course support materials ...................................................... 4
Structure of the French Extension course ............................................................................ 5
Preparing students to present opinions and argue a case ................................................... 6
Overview of syllabus text types ......................................................................................... 15
Glossary of key words (Languages) .................................................................................... 18
Proformas for planning monologues and essay writing ..................................................... 19
Suggestions for teaching film ................................................................................................30
Film production tools and techniques ............................................................................... 32
Film techniques template for students .................................................................................39
Writing and speaking ............................................................................................................40
Producing authentic texts ................................................................................................. 40
Radio and television access ............................................................................................... 43
Extracts ................................................................................................................................44
Extract 1: Separation ......................................................................................................... 44
Extract 2: Charles .............................................................................................................. 47
Extract 3: Caroline ............................................................................................................. 51
Extract 4: Charles’ room .................................................................................................... 54
Extract 5: The principal’s office ......................................................................................... 58
Extract 6: Introduction to the class .................................................................................... 61
Extract 7: Dinner with the family ....................................................................................... 64
Extract 8: The canteen ...................................................................................................... 69
Extract 9: First encounter with les Picassos ....................................................................... 72
Extract 10: Djamila’s anger ................................................................................................ 76
Extract 11: Sami reads Charles’ letter to the class ............................................................. 79
Extract 12: Sami’s innocence ............................................................................................. 83
Sample speaking and writing tasks .......................................................................................86
Expressions imagées, argotiques et en verlan .......................................................................87
Cultural references in the film ..............................................................................................90
Related texts ......................................................................................................................100
The impact of social class ................................................................................................ 100
School, relationships, tolerance ...................................................................................... 103
Family, social inequality, issues of tolerance ................................................................... 104
© State of New South Wales, Department of Education and Communities 2013
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Copyright and acknowledgments
Copyright
This resource contains information, data, documents, pages and images ('the material') prepared by the
Department of Education and Communities. The material is subject to copyright under the Copyright Act
1968 (Cth), and it is owned by the State of New South Wales through the Department of Education and
Communities and the Association of Independent Schools of NSW Ltd, although it may contain material
that is owned by other parties.
© State of NSW through the Department of Education and Communities, and the Association of
Independent Schools of NSW Ltd, 2013.
This work may be freely reproduced and distributed for non-commercial educational purposes only.
Permission must be received from the owners for all other uses.
Disclaimer
In compiling the information contained in and accessed through this resource, the Department of
Education and Communities and the Association of Independent Schools of NSW Ltd have used their best
endeavours to ensure that the information is correct and current at the time of publication but take no
responsibility for any error, omission or defect therein. The interpretations presented in this publication
should not be regarded as definitive. Although the notes provide support to the Extension Course
prescribed text(s), they are not to be considered authoritative.
Controversial issues in schools
In exploring the issues prescribed for Languages Extension courses, teachers in government schools are to
adhere to the NSW DEC policy: Controversial Issues in Schools. The policy provides direction for
management of controversial issues in schools, whether by the use of teaching and learning material or
views expressed by teachers or visiting speakers. The policy can be accessed at:
https://www.det.nsw.edu.au/policies/index.shtml
Third party sites
This resource may contain links to third party websites and resources. Neither the Department of
Education and Communities nor the Association of Independent Schools of NSW Ltd is responsible for the
condition or content of these sites or resources, as they are not under the control of the Department of
Education and Communities or the Association of Independent Schools of NSW Ltd.
Acknowledgments
Although this resource is owned by the State of New South Wales through the Department of Education
and Communities and the Association of Independent Schools of NSW Ltd, it may contain material that is
owned by other parties.
Screenplay extracts from Neuilly sa Mère! (Neuilly Yo Mamma!) 2009, directed by Gabriel JulienLaferrière, written by Philippe Dechauveron, Marc Dechauveron, Gilles Laurent and Djamel Bensalah. All
rights reserved © 2009 MIROIR MAGIQUE! – VITO FILMS – France 2 CINEMA – TF1 INTERNATIONAL
(Reproduced with the permission of the copyright owner).
This material is licensed under the National Educational Access Licence for
Schools (NEALS). Schools administered or represented by parties to NEALS may
freely reproduce and/or make available online or electronically transmit this
material in whole or part for educational uses.
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General information
Introduction to the Extension course support materials
These materials were prepared for teachers of the French HSC Extension course. They aim to
support the teaching of the prescribed text and issues, thereby helping students achieve the
outcomes of the Extension syllabus.
The Extension course comprises 60 hours of study, as set out in the Stage 6 French Extension
Syllabus 2000, available on the Board of Studies NSW website:
www.boardofstudies.nsw.edu.au
The organisational focus of the Extension course is the theme: The individual and
contemporary society. A number of issues that exemplify aspects of the theme are
prescribed for study. Students engage with these issues through the study of prescribed and
related texts.
Prescribed issues 2014–2018
The prescribed issues for French are:

the impact of social class

issues of tolerance

relationships.
For further details of each issue and some example sub-topics within the issues, see the
Board of Studies NSW document French Extension Course Prescriptions, Higher School
Certificate 2014–2018:
http://www.boardofstudies.nsw.edu.au/syllabus_hsc/pdf_doc/french-ext-prescriptions-1418.pdf
Note that the example sub-topics are not intended to be a complete list.
Prescribed text 2014–2018
The prescribed text is the film, Neuilly Sa Mère! (2009)
Director: Gabriel Julien-Laferrière
Scenario: Philippe de Chauveron
Copyrights: Miroir Magique
Twelve extracts from the film have been prescribed for study. For details of the extracts see:
French Extension Course Prescriptions, Higher School Certificate 2014–2018.
Organisation
This resource is intended only as an introduction to the study of the prescribed text and
issues and does not attempt to cover all aspects of the Extension course. It is envisaged that
teachers will draw from this material according to the needs of their students rather than
using every item, and that they will supplement these notes with additional material.
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Structure of the French Extension course
The organisational focus of the French Extension course is the theme: The individual and
contemporary society. The theme is exemplified by the prescribed issues.
The prescribed issues are explored through the study of:

a text prescribed by the Board of Studies NSW (the prescribed text)

additional texts related to the prescribed issues (related texts), identified by the
teacher and/or students.
Exploring the prescribed issues through the prescribed text
The study of the issues through the prescribed text will involve:

exploring the relationship between the issues and the prescribed text

creating original text in response to aspects of the prescribed text

identifying meaning and how it is conveyed in the prescribed text

evaluating linguistic and cultural features of the prescribed text

analysing the sociocultural context of the prescribed text.
Exploring the prescribed issues through related texts
To assist teachers and students in selecting suitable related texts through which they can
explore the issues, suggested sub-topics have been provided in the Board of Studies NSW
document: French Extension Course Prescriptions, Higher School Certificate 2014–2018
It is important to note that these sub-topics are not prescribed, exhaustive or definitive.
They are suggestions only to give a sense of the scope of the prescribed issues. Teachers
should not limit the exploration of the issues to these sub-topics, and may use them in
addition to, or instead of, other possible sub-topics (provided that these sub-topics also
relate to the prescribed issues).
Study of the issues through other related texts will allow students to:

read, view and/or listen to a range of texts

further develop knowledge of French and French-speaking communities

evaluate how the issues are presented in these texts.
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Preparing students to present opinions and argue a case
To achieve the outcomes of the Extension syllabus, students must be able to use the target
language to discuss attitudes, opinions and ideas and to formulate and justify an argument.
To prepare students to respond capably to a broad range of questions, beyond just the subtopics of the prescribed issues, teachers need to use strategies that encourage students to
think in terms of opinions and arguments.
Emphasis needs to be placed on developing skills that can be applied to any content.
Students should not attempt to fit a prepared response to a question, but rather use general
structures and prepare a range of phrases that could be used to present any opinion and
justify any argument. Students need to be exposed to a variety of topics and trained to
quickly develop a logical argument with their own point of view embedded in the response.
Activities and resources that could be used to develop this include:
1 soapbox activity
2 brainstorming and mind-mapping
3 class discussions
4 presenting a point of view
5 using other Languages Extension syllabuses
6 developing skills for monologues and short essays
7 developing knowledge of specialist vocabulary
8 recording responses
9 Board of Studies NSW Standards Packages (2002).
1. Soapbox activity
To familiarise students with current affairs and to encourage speaking, do soapbox in
English. Ask students to discuss something that has occurred in world current affairs that
week that is of interest to them. The emphasis should be on expressing themselves in
English without using specialist vocabulary, as they would if they were speaking in the target
language. The activity does not take long and should be used regularly.
As soon as possible, practise soapbox in the target language but limit the scope to themes
covered in the Continuers and Extension syllabuses, discussing any relevant current news
items, songs or TV programs that raise similar issues. To engage the whole class, have
students complete a table, like the one below, while listening to their classmates speak.
Review unfamiliar vocabulary before moving on to the next student.
Language structures used
Unfamiliar vocabulary
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2. Brainstorming and mind-mapping
Have students brainstorm the prescribed issues and complete a mind-map to organise their
thoughts. Students should think broadly about subjects that would relate to specific issues,
even if only tenuously. Graphic organisers are useful tools to assist them in organising each
prescribed issue into topics and sub-topics.
Useful graphic organisers include:

placemat protocols

plus/minus/interesting (PMI) charts

affinity diagrams

lotus diagrams.
Placemat protocols
These are useful for achieving breadth and depth in monologues and short essays on a topic.
They can be used to:

critically assess texts

develop a comprehensive range of strategies and skills appropriate to the text
being read

justify a point of view.
Procedure:

Use a marker pen to divide an A3 sheet of paper into the format shown below.

Divide the class into groups of four and give each group one ‘placemat’ (A3 sheet).
Topic of text
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
Nominate a group leader. The group leader then cuts sections of the placemat and
gives each student in the group one of the outside sections.

Give students (including the group leader) a selected text to ready individually.

The group leader writes the topic of the text in the centre section of the placemat.

After a predetermined period (the length of time will depend on the length and
complexity of the text), ask students to summarise the most important points they
have read in the text in dot point form on their section of the placemat.

Reassemble the placemat.

In the centre of the placemat, the group leader lists common points identified by
all four students.

When this is complete, give each student a specific period of uninterrupted time
(e.g. three minutes) to justify orally the inclusion of individual points not listed by
others (i.e. that are not listed in the centre of the placemat).

The group leader presents a summary of findings to the whole class.
Plus/minus/interesting (PMI) charts
These graphic organisers are useful for looking at both sides of an argument, or seeing things
from a different perspective. The PMI chart is a creative thinking strategy used in Edward De
Bono’s CoRT Thinking Program.
PMI charts help students to:

see both sides of an argument

view things from a different point of view

think broadly about an issue

suspend judgment

make informed decisions

work as individuals, in pairs or as members of a group.
Procedure:
The strategy can be used in a range of classroom activities, including analysing texts and
exploring issues. Give students a format for recording their ideas such as the table below.
Plus
Minus
Interesting
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Individually, in pairs or in small groups, students apply three questions to a statement or task
provided by the teacher:

What are the positive ideas about this?

What are the negative ideas about this?

What is interesting about this?
Within a specified time limit, students brainstorm their responses, having appointed a
recorder and a reporter. At the end of the designated time, the reporter reports back on the
group’s most original or creative ideas from each of the categories.
It is useful to model the activity first, using as a topic a statement such as: In the future,
everyone will carry around personal mobile phones like wristwatches or a recently shared
text or experience.
A range of outcomes can be assessed using PMI-based activities. For example:

understands and interprets the task

uses strategies to assist or facilitate brainstorming

contributes to discussion

comprehends and explains opinions and information

evaluates a range of viewpoints and can distinguish them from their own

applies the process of PMI to a range of situations.
Affinity diagrams
These are useful for brainstorming issue-related ideas and organising them into topics. The
affinity diagram is an interactive data collection method that allows groups of people to
identify and sort large quantities of ideas within a short time frame.
Procedure:

Clearly define and write the question or topic for the session at the top of a flip
chart. All class members individually brainstorm ideas relating to the question or
topic.

While brainstorming, individuals, without discussion, write each of their ideas on a
separate sticky note and place these in front of them.

Class members randomly place ideas on the topic flip chart.

Class members, working as a group, silently place ideas into like categories.

Label the idea for each category by writing it on the flip chart.
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Lotus diagrams
This graphic organiser is useful for issues and sub-topics. The lotus diagram takes its name
from the lotus flower, whose petals open in an overlapping way.
The diagram comprises nine boxes. The main topic goes into the unlabelled centre box.
Around the centre box are eight numbered boxes. What a student knows about the main
topic is placed in each of the numbered boxes. Each of the eight boxes has a lotus diagram of
its own. Students can place the information in the box labelled number 1 in the centre box
into the box labelled number 1 in the outer box. In the outer box the student can put more
ideas about that information in the eight boxes around it.
1
2
1
8
8
7
7
2
3
3
4
6
5
6
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4
5
3. Class discussions
Use class discussions, most likely in English, to gather ideas and the debate pros and cons
related to a particular topic or question. The results of the discussions can then be organised
and used to formulate responses to particular topics and questions in the target language.
Use material already published on the topic as a discussion starter. Discussion could involve
expanding ideas or identifying vocabulary, phrases and structures in the target language that
will be useful in any response.
Useful resources include:

HSC Extension course support material CD-ROM 2009–2013 (NSW DEC)

articles in textbooks

past HSC papers/questions

HSC Online: www.hsc.csu.edu.au/

a brainstormed list of possible prescribed issue-related topic questions

news items/newspaper/internet articles related to the prescribed issues.
4. Presenting a point of view
Encourage students to think about both sides of the argument for the stimulus statement or
question before deciding which stance they will take: for or against/agree or disagree.
Students should take the point of view they feel they are best equipped to argue.
Exercise 1
In order to practise presenting a point of view through classroom discussion, as described
above, students formulate a response to a question in the target language and then present
a different point of view on the same topic.
Exercise 2
Students brainstorm HSC-style questions in pairs, based on sub-topics from their mind-maps:

Give each pair a different topic.

Ask one student to speak for the affirmative and one for the negative.

Each pair prepares a one-and-a-half to two minute speech in English. This is
conducted as a debate, where the other students act as adjudicators after hearing
each of the arguments. The other students must justify their decision based on the
logic of the argument. This exercise can be done in the target language when
students become more confident.
5. Using other Languages Extension syllabuses
Download relevant sections of other language syllabuses from the Board of Studies NSW
website and look at the prescribed issues and suggested sub-topics. If they are similar to
those set for French Extension, use them as a source of ideas for practice speaking and
writing questions.
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Be aware that the sub-topics listed for any one prescribed issue are many and varied. They
are not limited to the dash points in the syllabus nor to those that have been examined in
previous HSC examinations.
6. Developing skills for monologues and short essays
Students should develop the skills necessary to prepare monologues and write short essays
and the ability to present and support a point of view or to develop an argument in the
target language. These skills are necessary for the speaking and writing sections of the HSC
examination. However, note that short essay writing is not the only text type specified for
productive use in the Extension course.
Exercise
Give students a question/stimulus statement. For example: Do you think mobile phones
should be banned in schools, hospitals and theatres? Give reasons for your answer.

As a class, brainstorm ideas in English and record them on the board.

Organise points/ideas into ‘for’ and ‘against’ the argument.

As a class, decide which side of the argument is easier to present, i.e. for or
against.

Using the ideas gathered, ask individual students to write their own response in
simple English (sample response in English).

Share the sample responses as a class.

Deconstruct the sample responses and come up with a skeleton structure
common to all good responses: introduction, main body and conclusion.

Go through the sample response structure below.

Joint construction: students create a group response in the target language to the
same question by fleshing out their argument using the sample structure. Working
in pairs or groups of three, students take an example and write a paragraph on it.

When all students in the group have finished, put the paragraphs together to
make a whole response. The opening statement, brief outline and concluding
statements can be written at the same time. There may be some repetition
through the argument, but students should gain confidence and the ability to put
together a response before writing individual responses.

Individual construction: students write their own response to the same question
using ideas and skills gathered in this exercise.
Sample response structure

Take a stance (for or against) or make an opening statement (if not argument).

Give a short introduction (i.e. briefly state the reasons that you are for or against or
summarise what you are about to say or write).
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
Present your first example and detail.

Present your second example and detail.

Present your third example and detail.

Draw your conclusion (reiterate your stance, for or against, and summarise your
argument).
7. Developing knowledge of specialist vocabulary
Learning some commonly-used vocabulary and expressions related to the Extension issues
will help students respond to speaking and writing tasks.
Exercise 1
Cut up the specialist words or expressions and put them into a hat. Students then take turns
drawing one out and translating it into the other language.
Exercise 2
Have students make a domino game where they have to match the target language words or
expressions with the English equivalent. You can set up this activity as a group or individual
activity (you will need several sets) and make it into a competition by timing students. This is
useful as a revision activity.
Exercise 3
In order to develop students’ ability to express complex ideas in simple language rather than
relying on a dictionary, put a list of difficult (and hard to translate) English words into a hat.
Have students draw words one at a time and express them using the target language they
are already familiar with. You may need to rephrase some words in English before the
students express them in the target language.
This exercise is particularly relevant practice for the speaking exam where dictionaries are
not permitted. However, even in writing tasks, students should try to avoid using unknown
words from the dictionary as much as possible. Trying to find an alternative way of
expressing an idea is an excellent skill to develop. It’s what we all do to communicate in a
foreign language!
8. Recording responses
For the oral examination, students respond with a monologue on one question from a choice
of two. They are given seven minutes to prepare their response and may make notes and
refer to them during the examination. Students are expected to speak for approximately
three minutes.
The monologues are recorded, therefore students need to become accustomed to having
their speaking responses recorded. They also need to learn how to make effective use of the
preparation time and be well-practised in planning and writing dot points for their
monologues.
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Exercise 1
Students take a question or stimulus statement out of a hat and give themselves seven
minutes preparation time. At the end of the seven minutes they record their response. They
should not stop the recording until they have completed their response. When finished, they
play back the recording. This is an excellent exercise to help students become accustomed to
forming ideas and developing a response within the time limit of the HSC oral examination.
Exercise 2
Have students record a monologue and bring it to school for peer assessment. This will help
them to develop confidence in recording their voice and to become used to speaking clearly
and at an even pace. Peer assessment is recommended for this exercise, as other students
learn from their peers’ strengths and weaknesses.
The exercise should be used as a stimulus for a constructive discussion aimed at improving
the performance of the whole class as well as that of the student whose performance is
being assessed.
An explanation of the marking guidelines is necessary at this point so that students are made
aware of the criteria examiners will apply.
9. Board of Studies NSW Standards Packages
It is important that students are familiar with the marking rubric and guidelines for each
section of the HSC examination. Board of Studies NSW Standards Package (2002) contains
the marking guidelines as well as a sample examination paper, syllabus, answers and sample
student responses at band cut-off points. The Standards Packages are an invaluable teaching
and learning tool. These CD-ROMs were sent to all schools by the Board of Studies NSW and
are also available online on the Board of Studies NSW website
http://arc.boardofstudies.nsw.edu.au/standards-packs/SP02_15690/
Exercise 1
Select a number of sample answers from the Standards Package speaking and writing
sections and have students award marks to them by applying the marking guidelines.
Students can discuss the marking criteria and justify their marks from an examiner’s
perspective.
Exercise 2
Students listen to and read a number of speaking and writing samples from across the range
of bands. They can use the exemplar samples as a model for their own monologues and
writing.
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Overview of syllabus text types
The text types listed in the Continuers Stage 6 syllabus are assumed knowledge for Extension
students. Each Extension syllabus lists text types for production in the external examination.
Below is an overview of some of the text types with which Extension students should be
familiar. Refer to the Continuers and Extension syllabuses for complete lists.
Syllabus text
type
Purpose
Structure
Language features
Article
 to sustain an
argument
 to describe
 to inform, to
persuade, to
amuse or entertain
 range of tenses
 linking words
 language can be descriptive,
factual, judgmental, emotive or
persuasive depending on
context
Conversation
 to exchange
information,
opinions and
experiences
 to maintain and
sustain
communication
 titles or headings
 development of
ideas or argument
 sequencing and
linking of ideas
 statement of
conclusion or advice
 exchange of opening
salutations
 question or
statement followed
by response
 two-way interaction
(sustained)
Description




 general statement or
classification
 introduction and
elaborated
description of
characteristic
features






Diary or
journal entry
 to record personal
reflections or
experiences
 chronological or
stream of
consciousness
 first person
 abbreviated words or sentences
 subjective or informal language
Discussion
 to give different
points of view
 to examine issues
from more than
one perspective
 to make
recommendations
based on evidence
 to sustain an
argument
 presentation of main
idea in introduction
 evidence or data to
support main idea
 interaction between
participants to clarify
understandings
 conclusion or
reiteration of main
idea
 balanced
presentation
 linking words to sequence ideas
logically
 qualifying words (e.g. usually,
probably)
 persuasive, descriptive,
discursive or personal language,
depending on context
 comparative expressions
to inform
to entertain
to describe
to classify
 question forms
 strategies to maintain
conversation (fillers)
 interjections
 incomplete sentences
 language level depends on
context and relationship
between participants
specific details
descriptive words
a range of tenses
varied vocabulary
comparative expressions
literary devices (e.g. simile,
imagery)
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 conventions (i.e.
subject line, email
addresses)
 specific details
without elaboration
 salutations and
endings
 orientation or
introduction
 presentation of
argument, judgment
or evaluation
 conclusion or
reiteration of main
argument
 often has embedded
description and/or
explanation
 salutations
 letter conventions
(e.g. layout, address,
dates)
 logical and cohesive
sequence of ideas
 abbreviated words and
sentences
 simple language structures
 to communicate in
writing with
acquaintances,
friends, family
 to inform or amuse
 salutations
 letter conventions
(e.g. layout, address,
date)
 frequent colloquial language
 subjective language
 sentence structure often less
complex than in formal letters
Interview
 to seek and convey
information, views
or opinions
 question and
response form
 question words
 link words
 strategies to maintain
communication
Invitation
 to invite in written
form
 layout conventions
 statement of facts
 protocols
 abbreviated language
 formal or informal language
 expressions that tell when,
where, with whom
Message or
note




 general statement,
description,
procedure
 may be in point form
 succinct
 abbreviated words and
sentences
 lack of descriptive detail
 frequent use of colloquial
language
Email or fax
 to use technologybased methods of
communication
 to inform
 to seek a response
Essay




Formal letter
 to communicate in
writing in formal
contexts
 to request
information
 to lodge a
complaint
 to express an
opinion
Informal
letter
to discuss
to analyse
to assess
to guide or teach
to inform
to request
to instruct
to remind
 formal, objective language
 linking words to sequence ideas
and paragraphs
 qualifying words
 abstract nouns and concepts
 complex sentence structure
 evidence or examples included
to support or enhance
argument
 use of full sentences and
paragraphs
 more complex sentence
structure
 objective language
 frequent use of formulaic
expressions
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Speech or
talk (script)
Narrative
account
Personal
profile
Postcard
 introductory
statement of
purpose
 explanation or
sequence of events
or presentation of
argument
 concluding remarks
 to entertain, amuse  series of events
presented in logical
or instruct
progression
 resolution or
conclusion
 may contain a series
of complications

may be in point form
 to describe
(appropriate to
 to outline personal
situation)
details
 use of headings and
subheadings
 salutations
 to provide
 brief description or
information
message
 to retell events
 formulaic ending
 to communicate
ideas, opinions and
attitudes
 to entertain
 to persuade
 to welcome
 to thank
 choice of expressions to engage
the audience
 descriptive words
 a range of tenses
 subjective language
 time words used to connect
events
 use of action words
 descriptions of characters and
settings




factual
descriptive language
present tense
simple phrases or sentences






incomplete sentences
abbreviated words
colloquial expressions
clichés
personal impressions
past tense
time words to connect events
expressions that tell us when,
where, with whom and how
Recount
 to retell what
happened
 to tell a series of
events
 introduction or
orientation
 events sequenced in
chronological order




Report
 to classify and/or
describe
 to organise facts
 to draw
conclusions
 general statement or
classification
 description
 logical progression
 supporting evidence (e.g.
statistics, examples)
 factual
 usually present tense
 language specific to the topic
 objective language
Review
 describe context of
 to respond to a
text or work
text or stimulus

describe the text or
 to summarise,
work
analyse or interpret

judgment or
a text and to assess
evaluation of text or
its value
work
 descriptive language
 more complex structures with
frequent abstract language
 words that express judgment
 possible comparisons
 expressions of aesthetic nature
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Glossary of key words (Languages)
The table below lists a selection of words and their meanings in the context of tasks for HSC
Languages courses. The list will help teachers and students understand how to respond to
tasks that use these terms.
Account
Account for, state reasons for, report on. Give an account of; narrate a
series of events or transactions.
Analyse
Identify components and the relationship between them; draw out and
relate implications.
Compare
Show how things are similar or different.
Construct
Make, build; put together items or arguments.
Contrast
Show how things are different or opposite.
Critically analyse or
evaluate
Add a degree or level of accuracy, depth, knowledge and understanding,
logic, questioning, reflection and quality to analyse or evaluate.
Define
State meaning and identify essential qualities.
Demonstrate
Show by example.
Describe
Provide characteristics and features.
Discuss
Identify issues and provide points for and/or against.
Evaluate
Make a judgment based on criteria; determine the value of.
Explain
Relate cause and effect; make the relationships between things evident; say
why and/or how.
Identify
Recognise and name.
Interpret
Draw meaning from.
Justify
Support an argument or conclusion.
Outline
Sketch in general terms; indicate the main features of.
Propose
Put forward (e.g. a point of view, idea, argument, suggestion) for
consideration or action.
Recommend
Provide reasons in favour.
Recount
Retell a series of events.
Summarise
Express, concisely, the relevant details.
Adapted from Board of Studies NSW, A Glossary of Key Words (HSC):
www.boardofstudies.nsw.edu.au/syllabus_hsc/glossary_keywords.html
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Proformas for planning monologues and essay writing
In both the oral examination and the written examination, students are required to present
and support a point of view in French. Teachers will need to support their students in
developing these skills. The following templates or proformas have been designed to help
students develop a structured approach to responding to monologue and short essay
questions. They may be useful as a starting point, but also for the development of breadth
and depth in students’ responses.
The following sequence is recommended for teaching these skills:
1 Give a sample question in English and brainstorm possible ideas.
2 Use a planning overview – proforma 1 or proforma 2 (mini lotus diagram) – to clearly
organise ideas under sub-headings (in English).
3 Ask students to choose a planning proforma (proforma 3 or 4).
4 Using the planning proforma, ask students to write a monologue or short essay (in
English) based on the overview developed in step 2.
5 Once students are confident about structuring a response and showing breadth and
depth, provide a question in French.
6 Students go through steps 1–5, this time writing in French.
In order to gain confidence and competence in these skills, students should write as many
monologues and short essays as possible. Monologues can be recorded for practice. Please
note that short essays are not the only text type prescribed in the Stage 6 Extension syllabus.
Students also need to be familiar with the text types for productive use listed in the Stage 6
Continuers syllabus.
There are many different ways of reflecting on a question and answering it. The following
proformas will help students plan and construct a detailed response using different
approaches.
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Planning proforma 1
Question:
BREADTH
Example 2
DEPTH
Example 1
20/105
Example 3
Sample proforma 1
Question: La technologie est cause de stress. Est-ce que vous êtes d’accord?
(Technology causes stress. What is your opinion?)
BREADTH
Example 2
Example 3
In the home
In the workplace
In our leisure
activities
 use of appliances
makes life easier
(e.g. vacuum
cleaners and
washing machines)
 computers and the
internet make work
easier, less stress
 we can de-stress
using plasma TVs,
iPods, etc.
 home-shopping via
the internet saves
time, energy and
stress from
shopping in
overcrowded shops
 less travelling
because of video
conferencing and
internet phone
calls
 we can book
movies, concerts
and plane tickets
online
 creature comforts
make our life
pleasant (e.g. airconditioners)
 instant
communication
via email saves
time
 we enjoy games
such as PlayStation
2 and Nintendo DS,
and catching up
on interesting
programs via
podcasts etc
DEPTH
Example 1
21/105
Planning proforma 2 (mini lotus diagram)
Question:
Example 1
Example 2
Question or topic
Example 3
Example 4
22/105
Sample proforma 2
Homeshopping via
the internet
saves time,
energy and
stress
Use of
appliances
makes life
easier (e.g.
vacuum
cleaners
and
washing
machines)
Example 1
In the
home
Less
travelling
because of
videoconferencing
We have
creature
comforts
such as airconditioners
Computers
and the
internet
make jobs
easier, less
stress
Example 2
In the
workplace
Question
La technologie est cause de
stress. Est-ce que vous êtes
d’accord?
Technology causes stress. What
is your opinion?
We can destress using
plasma TVs,
iPods, etc.
We can book
movie,
concert and
plane tickets
online
Example 3
In our
leisure
activities
We enjoy
games such
as
PlayStation
2 and
Nintendo DS
Example 4
The use of
iPods to
memorise
vocabulary
and listen to
songs
23/105
Instant
communica
-tion via
emails
Planning proforma 3
Question
(Write in the question or stimulus statement)
Opening
statement
(Make your stance known; do you agree or disagree with the stimulus statement?)
Introductory
statement
(State why you agree or disagree with the stimulus statement and introduce the
examples you are going to discuss to support your argument)
1st example
(Explore each point in depth)
•
•
•
2nd
example
•
•
•
3rd example
•
•
•
Concluding
statement
(Link your examples back to why you agree or disagree with the statement and restate your stance)
24/105
Sample proforma 3
Question
La technologie est cause de stress. Est-ce que vous êtes d’accord?
Technology causes stress. What is your opinion?
Opening
statement
(Make your stance known; do you agree or disagree with the stimulus statement?)
Je ne suis pas d’accord, je ne pense pas que la technologie soit cause de stress.
I disagree with this statement. I do not think that technology causes stress.
Introductory
statement
(State why you agree or disagree with the stimulus statement and introduce the
examples you are going to discuss to support your argument)
Au contraire, je ne pense plutôt que la technologie nous aide dans la vie quotidienne
en nous rendant les tâches plus faciles à la maison, à l‘école, au bureau, et même
dans nos loisirs. Ce qui veut dire que nous avons moins de stress dans notre vie.
Technology has made many aspects of our lives easier; in our homes, in the
workplace and in our leisure activities. This has meant that there is less stress in our
lives.
1st example
In the home
Les appareils ménagers tels que les aspirateurs, les fours à micro-ondes, les
machines à laver allègent les tâches ménagères et nous donnent le temps de faire ce
que nous voulons au lieu de ce que nous devons faire. Nos heures de loisir en sont
augmentées agréablement.
Nous n’avons plus besoin d’aller faire les courses au supermarché et se frayer un
chemin dans la circulation bruyante pour se trouver parmi les autres gens pressés et
stressés, on peut commander sur Internet et le tout est livré à la maison.
Nos maisons sont bien chauffées et rafraîchies grâce à la climatisation, elles sont
gardées contre les cambrioleurs par des sysèmes de surveillance électronique et nos
piscines sont chauffées à l‘énergie solaire.
Appliances such as vacuum cleaners, washing machines and microwaves make
housework quicker and easier. This saves time and there is more time to relax.
We can shop from home via the internet without having to go to the shops.
We have creature comforts such as air-conditioners. Even the water in our pools
can be warmed using solar energy
2nd
example
In the
workplace
Au bureau l’Internet et les ordinateurs allègent notre travail.
Les gens se déplacent moins parce qu’ils peuvent parler aux autres à travers leur
ordinateur, par la conférence vidéo ou arranger des discussions de groupe par
téléphone. Ils sont donc moins stressés au travail.
La correspondance par email rend la communication immédiate et concise. On dit
les faits sans entrer dans les détails moins importants.
Computers and the internet make our jobs easier and quicker.
There is less travel because of video conferencing and therefore we are less tired
and stressed.
Instant communication via emails instead of long conversations over the phone
saves time.
25/105
3rd example
In our leisure
activities
Quand on rentre chez soi on peut se détendre en regardant la télé sur un grand
écran et écouter sa musique préférée sur la chaîne hi-fi ou sur son ipod.
On peut même faire des plans futurs en réservant nos billets de train ou d’avion et
même l’hôtel où nous avons décidé de passer quelques jours. Les billets de cinéma
ou de concerts sont souvent moins chers sur Internet et faciles à obtenir sans avoir à
faire la queue.
Il ne faut pas oublier aussi les jeux vidéos qui sont si populaires et qui nous
déstressent tout en nous changeant les idées.
We can de-stress with things such as plasma TVs and iPods.
We can check movie times and book plane tickets and concert tickets online, saving
time and money.
We can enjoy games such as PlayStation 2 and Nintendo DS, which decrease our
stress levels.
Concluding
statement
(Link your examples back to why you agree or disagree with the statement and restate your stance)
Je pense donc que la technologie n’est pas cause de stress. Au contraire, la
technologie nous rend la vie facile et nous sommes moins stressés parce que nous
avons plus de temps pour nous divertir et faire ce que nous voulons.
For these reasons, I do not think technology causes stress. It makes our lives easier
and therefore eases stress.
26/105
Planning proforma 4
Question: (Write in the question with the stimulus statement)
Opening statement: (Make your stance known. Do you agree or disagree with the stimulus
statement?)
Introductory statement: (State why you agree or disagree with the stimulus statement and
introduce the examples you are going to discuss to support your argument)
First example: _____________________________ (go into depth for each example)
•
•
•
Second example:
_____________________________ (go into depth for each example)
•
•
•
Third example: _____________________________ (go into depth for each example)
•
•
•
Concluding statement: (Link your examples back to why you agree or disagree with the statement,
and re-state your stance)
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Sample proforma 4
Question:
La technologie est cause de stress. Est-ce que vous êtes d’accord?
Technology causes stress. What is your opinion?
Opening statement: (Make your stance known. Do you agree or disagree with the stimulus
statement?)
Je ne suis pas d’accord, je ne pense pas que la technologie est cause de stress.
I disagree with this statement. I do not think that technology causes stress.
Introductory statement: (State why you agree or disagree with the stimulus statement and
introduce the examples you are going to discuss to support your argument)
Au contraire, je ne pense plutôt que la technologie nous aide dans la vie quotidienne en nous rendant
les tâches plus faciles à la maison, à l‘école, au bureau, et même dans nos loisirs. Ce qui veut dire que
nous avons moins de stress dans notre vie.
Technology has made many aspects of our lives easier; in our homes, at school, in the workplace and
in our leisure activities. This has meant that there is less stress in our lives.
First example: In the home (go into depth for each example)
Les appareils ménagers tels que les aspirateurs, les fours à micro-ondes, les machines à laver allègent
les tâches ménagères et nous donnent le temps de faire ce que nous voulons au lieu de ce que nous
devons faire. Nos heures de loisir en sont augmentées agréablement.
Nous n’avons plus besoin d’aller faire les courses au supermarché et se frayer un chemin dans la
circulation bruyante pour se trouver parmi les autres gens pressés et stressés, on peut commander
sur Internet et le tout est livré à la maison.
Nos maisons sont bien chauffées et rafraîchies grâce à la climatisation, elles sont gardées contre les
cambrioleurs par des sysèmes de surveillance électronique et nos piscines sont chauffées à l‘énergie
solaire.
Appliances such as vacuum cleaners, washing machines and microwaves make housework quicker
and easier. This saves time and there is more time to relax.
We can shop from home via the internet without having to go to the shops.
We have creature comforts such as air-conditioners. Even the water in our pools can be warmed
using solar energy
Second example: In the workplace (go into depth for each example)
Au bureau l’Internet et les ordinateurs allègent notre travail.
Les gens se déplacent moins parce qu’ils peuvent parler aux autres à travers leur ordinateur, par la
conférence vidéo ou arranger des discussions de groupe par téléphone. Ils sont donc moins stressés
au travail.
La correspondance par email rend la communication immédiate et concise. On dit les faits sans
entrer dans les détails moins importants.
Computers and the internet make our jobs easier and quicker.
There is less travel because of video conferencing and therefore we are less tired and stressed.
Instant communication via emails instead of long conversations over the phone saves time.
28/105
Third example: In our leisure activities (go into depth for each example)
Quand on rentre chez soi on peut se détendre en regardant la télé sur un grand écran et écouter sa
musique préférée sur la chaîne hi-fi ou sur son ipod.
On peut même faire des plans futurs en réservant nos billets de train ou d’avion et même l’hôtel où
nous avons décidé de passer quelques jours. Les billets de cinéma ou de concerts sont souvent moins
chers sur Internet et faciles à obtenir sans avoir à faire la queue.
Il ne faut pas oublier aussi les jeux vidéos qui sont si populaires et qui nous déstressent tout en nous
changeant les idées.
We can de-stress with things such as plasma TVs and iPods.
We can check movie times and book plane tickets and concert tickets online, saving time and
money.
We can enjoy games such as PlayStation 2 and Nintendo DS, which decrease our stress levels.
Concluding statement: (Link your examples back to why you agree or disagree with the statement,
and re-state your stance)
Je pense donc que la technologie n’est pas cause de stress. Au contraire, la technologie nous rend la
vie facile et nous sommes moins stressés parce que nous avons plus de temps pour nous divertir et
faire ce que nous voulons.
For these reasons, I do not think technology causes stress. It makes our lives easier and therefore
eases stress.
29/105
Suggestions for teaching film
This section is a collection of suggested approaches to the teaching of film.
The proposed activities provide maximum opportunities for students to engage with the film
in a range of activities beyond usual textual analysis exercises. It is not intended that all
activities will be completed. Teachers should select those activities that best suit their
students and their students’ needs.
The language of the response may vary depending on the task. Teachers will be able to judge
whether English or the target language is most appropriate for the task. However, most of
these activities will provide students with opportunities to develop their skills in the target
language while developing their understanding of the text and associated issues.
The film can be introduced by a discussion of the issues raised. Students should predict
possible content.
When studying a film, the initial viewing of the whole film is important. A suggested first
exercise is for students to write down their impressions of the film as soon as possible after
this viewing. This will be interesting to look back on after they have studied the film in detail.
Activities
The following activities based on the transcript or script can be used for the development of
written and/or oral skills. Many are suitable for group work.

Choosing a tag line for each character – one line from the script to sum up a
character.

Writing a press release or advertisement to encourage an audience to see the film
or play.

Designing a poster to promote the film. This could involve selecting exciting
scenes, showing a range of characters, moods, conflicts and issues.

Writing the history of a character. What is known about this person? Why is he or
she now in this situation?

Imagining yourself as a character in the film and writing a letter explaining your
actions.

Rewriting a small section of the script in indirect speech. How does this alter the
effect of the words?

Rewriting the ending, giving consideration to points such as style and plausibility.

Discussing how issues unfold in the film.

Recording an interview or writing a newspaper article about an event in the film.

Improvising a scene that occurs offstage.

Drawing a diagram or mind-map showing the relationships between the
characters.

Studying the key scenes and considering the principles underlying the
relationships and the importance of the scene to the film as a whole.
30/105

Considering parallels and conflicts (e.g. young and old, country and city).

Choosing a point approximately ten minutes into the film and considering how the
director or author has established who the characters are, where they are, what
has occurred up to this point, and how the audience’s interest has been aroused.

Making a list of props for a particular scene.

Considering how the atmosphere is created.

Considering the structure of the film. Students could take a scene and consider
why it starts at that point and how it fits into the overall structure.

Considering individual characters. Have they remained the same or changed
during the scene? If so, how?

Discussing whether the film entertains. Is there conflict, humour, suspense or
romance? Does it consistently hold our interest?

Debating whether the film offers new perspectives on the issues raised. Can it
change perceptions? What does the audience gain from it?

Considering the original audience for whom the film scenario was written. Is it
relevant to a wider audience? Does it have universal appeal?

Devising ‘Trivial Pursuit’ type questions. Who said what, where, when and to
whom?
31/105
Film production tools and techniques
The tools of production are the director, the cast, the screenplay, the production design and
the film techniques.
The tools of production are important in gaining an understanding of film. There are so many
effects and subtle technical changes that add to the mood and meaning of the screenplay,
creating a complete and new entity, sometimes even totally different to the original script.
Therefore it is important to go over these tools of production with students at an early stage
of their study so that they may use the tools when focusing on the film as a whole, and more
specifically within the chosen film extracts.
A film may gain meaning through the use of some or all of these means of production.
Sometimes it can particularly gain meaning through leaving out an important tool during the
film to create an effect. It is up to the teachers to guide the students to look for these effects
and how the tools have been utilised in the film.
The director
The director is responsible for each and every scene shot, every effect and how every word
is uttered in a film. He or she has poetic license to change the original screenplay to convey
the meaning of the film, and works on the film with appropriate technical staff from the
conception stage to the finished product.
The cast
The cast are the actors chosen to play the various parts in the film and the right choice of
cast can make or break a film. There are different styles of acting as well, and the cast must
be able to fit into the director’s ideas for the roles.
The screenplay
The screenplay is the script of the film with the addition of directions specifically for film, just
as in a play there are directions for the characters on stage. The directions for a film may
include other information such as lighting, sound effects, music and camera angles.
The production design
Production design includes the exterior and interior location for the shots, the sets and
colours used. The colour palette, for example, can reflect the mood, such as depressed,
happy or exciting. Wardrobe, hair and make-up are also important in setting the scene, the
era and the location.
32/105
Plot development and sequence of events
Film directors sometimes present the plot and the subject matter in a simple chronological
sequence of events. Contemporary cinema, however, makes frequent use of flashback and
out-of-sequence narration to enhance suspense and to maintain a high level of interest and
involvement by the audience. Such a structure allows for complication in the plot by offering
a multi-layered interpretation of the story.
Shot composition and framing
The shot composition consists of all the elements within a shot. It is a selective
representation of reality, as seen within the confines of a frame. It is carefully thought
through, very rarely the product of chance.
Framing refers to the placement of the subject matter within each shot. The subject may be
placed centrally or at the side. A character may be seen in profile, from the back or from the
front. The numbers of characters in each frame, how much of the background is included
and for what purpose are also elements of framing.
The framing, and the way in which all the elements within it are placed, form the shot
composition. By examining shot composition, students will be able to discern certain
subtleties used by the director to manipulate the audience.
Type of shot and camera angle
A shot is all that is recorded on film from the time the clapboard has been shut to the time
the director calls out ‘Cut!’. A lengthy shot (20 to 30 seconds) may convey a feeling of
tranquillity, whereas a succession of short shots (1 to 5 seconds) will hasten the pace and
movement. Film shots are taken from different distances to serve different purposes.
Long shot or wide shot
The long shot, also known as the wide shot, shows the entire object or character and places
the object or character in its surroundings. With the camera shooting at a distance from the
characters or the centre of the setting, long shots are commonly used as an introduction to
grab the viewer’s attention and to invite involvement. A long shot is often used to anticipate
the events that will follow or transport us to a different environment.
33/105
Medium long shot
This technique serves the purpose of setting the action within a confined environment. It
shows what the characters are doing.
Medium shot
Medium shots are used to focus on the dialogue and the interaction between characters in a
group.
34/105
Medium close-up
The medium close-up shot is generally used to reveal the psychological state of the
characters rather than their actions.
Close-up
Close-ups are often used to display the feelings and emotions of the characters and to gain
an insight into their thoughts. Close-ups are dramatic and effective devices used to portray
characters and character development.
35/105
High angle shot
The high angle shot reduces the subject to lower proportions in relation to the surroundings.
It is often used to indicate a feeling of helplessness, loneliness or isolation.
Low angle shot
A low angle shot lends more authority, more weight to the subject.
36/105
Straight-on angle shot
This is the most common angle used in filmmaking. Unlike the high and low angle shots
mentioned above, it conveys objectivity.
Colour and lighting
Colour and lighting (including the angle of lighting) are essential elements of modern
cinematography. Colour visually stimulates the viewer’s senses and feelings in a most direct
and physical manner. On an emotional level, lighting sets a mood and creates an
atmosphere, and invites an emotional and intellectual response from the viewer. Colour
helps to convey meaning by visually expressing the characters’ moods and feelings.
It is important to locate the source of light in a shot composition. Is it natural or artificial
lighting? Does it come from the side, the back, the front, the top, or from underneath? Is the
light coming from outside the frame or from within it? Is it soft, diffused, strong or harsh?
Colour and lighting are not easily separable, as lighting will change the way an object looks
no matter colour it is. Our personal response to a particular shot will often be subconsciously
determined by the quality, depth and type of colour used. It is important to ask how the
colour complements the theme both in the film as a whole and in particular shots.
Sound
Elements to consider with the soundtrack include:

verbal exchanges

sound effects

music

silence.
The physical presence or absence, and quality of, the verbal exchanges are important
features in the overall effect of any film. Tone, pitch, speed and volume of dialogue all make
a significant contribution to our perception of a character and the part he or she plays in a
scene.
37/105
Scenes without any speaking may communicate their message via the visual elements
combined with background music. The type of music used also plays an important part in the
creation of the film; however, the director may choose to have no sound at various times
throughout the film. This can be a powerful device, as the viewer has to rely on the visual
elements only.
Music is added either as a complete soundtrack or as a series of songs played in certain
scenes. Feelings of excitement, surprise, fear, love and hatred are evoked through the music.
Costuming and décor
Costuming and décor comprise the way people dress, interior décor and any other personal
or collective look. This is done through the use of particular clothes and decorations that
help to set the scene on a historical, social, personal and emotional level. Décor and
costumes not only set a scene within its geographical and historical context, but they can
also reveal the social status or personality of the characters.
Editing
Editing is the putting together, in a given order, of the thousands of shots that have been
taken and to which the sound track will be added. This very complex task involves the
selecting, deleting, clipping, lengthening and rearranging of shots before gaining the final
stamp of approval from the director. Editing also involves the choice and order of opening
and closing credits, sound effects and voice-overs.
38/105
Film techniques template for students
Name:
Cinematography extract:
Before this extract
After this extract
Lighting
Sound
Camera angle
Camera shot
Setting
Costuming and props
Tone, pitch, silence
Gesture
Editing and transitions
Recurring motifs
39/105
Writing and speaking
Producing authentic texts
Learning authentic phrases and expressions is a good way to build up vocabulary. However
these phrases and expressions must be used in context. Students should be encouraged to
keep a list of words and expressions they can use to build an argument or use in a
discussion. They should write down one or more sentences in which these expressions could
be used. Some phrases and expressions are set out below and require students and teachers
to build meaningful sentences.
How to refer to the title or subject
Cette déclaration/cette proposition/cette affirmation mérite d’être examinée de plus près/en
plus de détails …
Starting a paragraph
En premier lieu/d’abord/cet aspect négatif
Je cite l’exemple de
Abordons cette question
Il y a plusieurs raisons pour que
Prenons le cas de
Commençons par examiner
Expressions to use within a paragraph to add structure
D’abord
Quant à, en ce qui concerne
Ensuite
À cet égard, après tout
Enfin
Par conséquent/en conséquence
D’une part … d’autre part …
Étant donné que
Cependant, pourtant, néanmoins, tout de
même
D’une façon ou d’une autre
Bref, en un mot
En réalité
Grâce à la/au/aux
Malgré tout/toutes
40/105
Introducing an impersonal statement
Il est possible (de manger des champignons hors de saison mais)
Il est facile (de se rendre au bureau en utilisant)
Il est important (d’être présent avant la réunion)
Il est nécessaire que (vous soyez de retour avant 4 heures)
Il faut, il faudrait
Il reste peu de temps
Il manque beaucoup de
Il s’agit de
Il suffit de
Il est question de
Indicating rises, increases or decreases
Le nombre s’accroît
Le taux diminue
Une augmentation de
Une baisse des prix au marché
Une hausse des niveaux de la mer
Le coût des fruits et des légumes sont tombés
Numbers of people and things
La plupart (des enfants vont en vacances avec leurs parents)
Beaucoup de (filles ne portent plus de jupes)
Certains ne sont pas sûrs de (ce que veut dire liberté)
Expressing doubt (inversion is needed when you begin a sentence with peut-être)
Les tribus d’Afrique sont peut-être mieux au courant de la disparition des …
Peut-être (que les effets de serre se font-ils plus ressentir en Océanie)
Il se peut que (ce soit la faute aux industriels)
41/105
Indicating times and periods
De nos jours …
Autrefois …
À l’époque actuelle …
Jadis …
À l’avenir …
Du temps de mes grands-parents …
Les générations futures diront …
À l’époque victorienne …
Au début du siècle …
Dans les années 70 …
Pendant longtemps …
En moins d’un siècle …
Giving examples or quoting an opinion
Citons en exemple/je cite en exemple
Prenons l’exemple de …
Selon certain, selon d’autres
À en croire les scientifiques …
L’exemple le plus frappant est …
D’après le directeur …
Comparing ideas
Certains disent que … d’autres pensent …
Comparé à notre mode de vie aujourd’hui …
Faisons une comparaison entre …
Si je compare nos activités à celles de …
En contraste/par rapport à …
Celui-ci est mieux rémunéré que …
Ending a discussion
En fin de compte
Il faut conclure que
Tout bien considéré
En conclusion disons que
More information
R Hares and G Elliot (1984) Compo! French Literature Essay Writing, Hodder and Stoughton
Erving Goffman (1987) Façons de Parler, (Broché) Les éditions de Minuit
Gérard Vigner (1979) Parler et Convaincre, Hachette
42/105
Radio and television access
To access interviews, podcasts, music, weather reports and a range of other up-to-date
information on France, French news and cultural content, as well as the vast world of
Francophonie, click on the links below.

http://www.listenlive.eu/france.html

http://www.live-tv-radio.com/tv/france.shtml

http://www.learn-french-help.com/French-radio.html

http://tf1.lci.fr/infos/france/societe/

http://www.ina.fr/archivespourtous/index.php?vue=ba

http://www.aol.fr/

http://www.novaplanet.com/

http://www.tv5.org/TV5Site/programmes/accueil_continent.php

http://www.tv5.org/TV5Site/enseigner-apprendrefrancais/accueil_apprendre.php

http://www.tvfrance-intl.com/fr/home.html
Australia and the Pacific
Radio Australia broadcasts to the Pacific: http://www.radioaustralia.net.au/francais/
Outremer 1ère for news, radio programs and podcasts in New Caledonia, Réunion, Polynésie,
St Pierre & Miquelon, Wallis & Futuna, Mayotte, Martinique, Guyane and Guadeloupe:

http://nouvellecaledonie.rfo.fr/

http://www.la1ere.fr/

http://nouvellecaledonie.la1ere.fr/radio
Websites

http://www.adodoc.net/

http://www.20minutes.fr/

http://www.bonjourdefrance.com/

http://www.s-cool.co.uk/topic_index.asp?subject_id=12&d=0

http://atschool.eduweb.co.uk/stpmlang/AS%20topics/topics.htm#The%20Family
%20and%20Relationships%20(Module%201%20Topic%201)

http://www.longman.co.uk/pyramide/archive_fs.html

http://feeds.feedburner.com/TapisVolantSenior

http://www.worldlanguagespodcasting.com/wlangp/french.php

http://www.pratique.fr/

http://www.textesdechansons.com/themechansons.html
43/105
Extracts
Extract 1: Separation
16/INT SOIR/APPART SAMI/CITE MAURICE RAVEL
NADIA
J’ai trouvé un travail très bien payé, sur le Queen Elizabeth. Tu sais, le
paquebot … Ils me prennent à l’essai comme serveuse. Je commence lundi.
SAMI
Mais je vais aller où alors? A la DASS*? C’est ça?
NADIA
Hmal†, j’vais pas t’abandonner!
Non … Tu vas aller vivre chez ma sœur Djamila.
SAMI
Celle qui s’est enfuie avec le français là, qui a des enfants?
NADIA
Elle s’est pas enfuie: elle a fait un Stage dans son usine: ils sont tombés
amoureux, c’est des choses qui arrivent! De toutes façons, moi j’ai toujours
pensé que ça ne nous regardait pas! Et maintenant que tes grands-parents ne
sont plus là, Allah y rahmo‡ on n’a plus à être fâchées.
SAMI
Mais, je la connais pas, moi, Djamila! Je vais pas aller vivre chez une
inconnue!
NADIA
Ecoute: tu vas finir ton année scolaire chez elle et l’année prochaine,
Inch’Allah§, on trouvera une solution pour rester ensemble. D’accord?
SAMI
J’ai pas envie d’y aller maman.
NADIA
T’inquiète pas … je serai toujours là.
* DASS: Direction Departmentale de l’Action Sanitaire et Sociale (equivalent to the Department of
Community Services in NSW)
† Hmal: Idiot
‡ Allah y rahmo: God bless their soul
§ Inch’Allah: God willing
MIROIR MAGIQUE! SARL au capital de 45 735 € – RCS Paris B429 056 989 – TVA FR 88 429 989
35, rue du Faubourg Poissonnière – 75009 PARIS – France
TEL.: +33.1. 42.47.07.07 FAX.: +33.1.42.47.07.10, Contact: [email protected]
44/105
Issues
The impact of
social class
The establishing shot of this extract depicts the HLM (Habitation à Loyer
modéré) where Sami and his mother live.
Nadia, Sami’s mother, has found a new job ‘très bien payé’ indicating that the
motivation for the job is money (it is a greater motivation than staying with
her son, a sign of the extent of their financial hardship).
The employment that she has secured, even though it is on a luxury cruise
ship (the Queen Elizabeth II), is waitressing. The extreme contrast between
the luxury cruise ship and the act of abandoning her son for the waitressing
job symbolises the gap between lower and higher social classes.
Sami’s reaction: ‘mais je vais aller où moi, à la DASS c’est ça?’ His knowledge
of DASS indicates that he must have known of children his own age who were
taken from their parents to be looked after by the agency.
When Sami’s mother relates the story of how Djamila met her husband, she
clearly states their belonging to different social classes ‘elle faisait un stage
dans son usine quand ils se sont rencontrés’.
Issues of
tolerance
Sami refers to his aunt: ‘celle qui s’est enfuie avec un Français’. This reveals
that tolerance is a two-way thing.
Emphasis of Sami’s mother’s ethnic origin: she is wearing traditional North
African dress to clearly show where she and her son come from. It is also to
be noted that this is ‘home’ wear for her. In other scenes she is wearing
Western-style clothes. Home is where she feels relaxed and can be herself.
Another cultural item is visible in the background as Nadia and Sami sit at the
kitchen table (5:54). It is a tajine cooking pot from North Africa.
Sami’s mother implies that she feels she should not continue to participate in
the family’s rejection of Djamila because of her marriage to a Frenchman:
‘moi, j’ai toujours pensé que ça ne nous regardait pas’. This sentence also
implies that she is positioning her son clearly with her. It was the
grandparents who were the objectors. But they are now dead and she wants
to re-establish her relationship with her sister.
Sami’s mother uses the Arabic expression ‘Inch’Allah’ (God willing), as she is
promising that next year she and Sami will be reunited. To a French audience,
this expression clearly reinforces Sami and his mother’s Muslim origins.
Relationships
Sami and his mother had lost contact with Djamila because of her marriage to
a Frenchman (different circle) but also a wealthy man (different circle again).
Sami’s exclamation ‘Je la connais pas moi Djamila, j’vais pas aller vivre chez
une inconnue’ highlights that the lack of relationship between Djamila and her
family due to her marriage to someone from outside must have been
considerable, as Sami considers Djamila to be a total stranger. The use of
‘inconnue’ emphasises the fact that he does not know her and it also
accentuates the fact that she has changed social groups.
The relationship between Sami and his mother is very tender and deep. Sami
is genuinely upset that she is leaving him for a whole year. His tears are
sincere. He feels overwhelmed, yet he accepts her decision.
In the closing scene of the first extract Sami and his mother hug,
demonstrating their closeness and unity. (A further contrast to Djamila’s
alienation from the family.)
45/105
Sample questions
Part A
1 How is Sami and Nadia’s cultural background revealed in this extract?
2 Describe the nature of the relationship between Sami and his mother.
3 How do film techniques assist in your understanding of their relationship?
4 To whom is Sami referring when he says, ‘Celle qui s’est enfuie?’ What does this language
reveal about Sami’s attitude?
Part B
‘Écoute: Tu vas finir ton année scolaire chez elle et l’année prochaine … T’inquiète pas!’
Sami retourne au match pour retrouver ses amis, Mam et Jason, pour leur parler de son
prochain départ. Ecrivez le texte de leur conversation. (à peu près 300 mots)
Sami goes back to the match to see his friends Mam and Jason and tell them that he is about
to leave. Write the script of their conversation. (about 300 words)
46/105
Extract 2: Charles
DJAMILA
6 mois! Ah bah tiens voilà Charles … Mais tu m’as l’air bien essoufflé*!
CHARLES
J’ai couru jusqu’au bois de Boulogne!
DJAMILIA
C’est bien, mon cœur! Alors je te présente …
CHARLES
Oui, Tante Nadia …
NADIA
Bonjour!
CHARLES
Enchanté Nadia! Et mon cousin Sami. Bienvenue Sami!
SAMI
Merci!
CHARLES
C’est drôle je t’imaginais plus … enfin moins p’tit! Enfin c’est pas grave
hein!
DJAMILA
Charles tu fais visiter la maison à Sami?
CHARLES
Oui, bien sûr!
DJAMILA
Et puis je te laisse déposer ça dans la cuisine, s’il te plait!
CHARLES
Ah d’accord, d’accord … C’est une des plus vieilles maisons de Neuilly …
NADIA
Il est adorable, ce Charles!
DJAMILA
Ouais il est adorable, un peu spécial … et figure-toi que depuis qu’il est
petit, il veut être président de la République …
NADIA
Ah bon!
DJAMILA
Ouais … Bah ceci dit sa sœur aussi est un peu spéciale. Bah moi je crois
que c’est de famille!
CHARLES
C’est mon arrière-grand-père Jean Édouard qui l’a fait construire.
25/INT JOUR/ENTREE ESCALIER HOTEL PARTICULIER/NEUILLY
CHARLES
Pas mal ton déguisement! Mais moi on ne me la fait pas: t’es une racaille †
de banlieue.
SAMI
Eh ouais, ouais … Je suis de banlieue, mais t’inquiète pas je ne suis pas
une racaille.
CHARLES
Ah ouais? Je suis sûr que dans ton sac il y a un survêt à capuche! J’ peux
vérifier?
SAMI
Touche pas à mon sac ou je te nique‡ ta …
47/105
CHARLES
Si je te provoquais, c’était uniquement pour tester ta réaction. Le test s’est
avéré positif: t’es une racaille.
Ah oui, j’ai aussi fait des recherches sur ta cité de Chalon.
L’année dernière, il y a eu 29 voitures brûlées. Comment t’expliques ça?
SAMI
Je sais pas. Moi, j’ai jamais brûlé de voiture.
CHARLES
Tes copains l’ont fait.
SAMI
Non.
CHARLES
Des gens que tu connais, alors?
SAMI
Forcément … Tout le monde se connaît dans une cité.
CHARLES
Pourquoi tu ne les as pas dénoncés?
SAMI
Eh bah, parce que je ne suis pas une balance§.
CHARLES
Donc, t’es leur complice!
SAMI
Non.
CHARLES
Si! D’honnêtes gens ont perdu leur voiture, parfois c’était leur outil de
travail, et toi tu n’as rien fait.
En droit français, ça s’appelle de la complicité! Bon, je vais prendre une
douche.
Toi, tu déposes ça dans la cuisine … Et tu voles rien, ok?
SAMI
Bouffon||!
* essouflé: out of breath
† Une racaille: un voyou, un membre de bande (a lowlife; a member of a gang)
‡ Je te nique: Get lost (insult)
§ Une balance: a dobber
|| Bouffon: clown; buffoon; fool
48/105
Issues
The impact of
social class
Charles appears for the first time. He has been out jogging (and is sweaty,
indicating real effort), wearing his white earphones, obviously listening to an
iPod and wearing fashionable sunglasses. This portrayal of Charles both by the
characterisation (genuine exercise and purpose) and the props (iPod and
sunglasses) is in sharp contrast with Sami’s friends on the estate who seemed
to have been wandering aimlessly and were not engaged in particular
pursuits.
When greeting each other, Nadia (Sami’s mother) simply says ‘Bonjour’ to
Charles but he replies ‘Enchanté Nadia’, which indicates that he has never
before met his aunt; it also indicates his social status as he is clearly
comfortable calling her by her first name.
As Charles enters the house he says, ‘C’est mon arrière-grand-père JeanEdouard qui l’a fait construire’. In this sentence we recognise three strong
social class elements:
1. To have built such a house is a sign of wealth, for wealthy upper-middle
class families and beyond.
2. For a family to still live in the same house that the great grandparents built
is a sign of social and economic stability.
3. The first name ‘Jean-Edouard’ is affected and representative of the doublebarrel style first name to be found in upper social classes in France. Ethnically
speaking, it is also very French.
Issues of
tolerance
Charles accepts Sami in front of Djamila and Nadia. He owes respect to his
elders. But he drops his acceptance the moment they step into the house and
they are out of earshot of the adults.
Charles uses the famous words from President Sarkozy’s faux pas while
visiting a banlieue, when he promised that he would rid them of the ‘racaille’
(i.e. the young rioters at the time).
By using this term, Charles is not only positioning himself socially and
politically (wealthy and conservative) as he directly copies Sarkozy’s
vocabulary, but he also emphasises the fact that Sami comes from the
banlieue, where la racaille live and cause great problems.
Charles’ attitude change towards Sami is confronting for the audience: he
shows his true colours and pompousness. He is rude and threatening, he
shoves the cake at Sami with distaste and points rudely at Sami, ordering him
not to steal anything.
The camera clearly captures Sami’s inferior position: he is smaller than
Charles; hence he has to look up to him. He is not comfortable holding
Charles’ gaze and drops his eyes. Charles invades Sami’s personal space
without any qualms and he dominates the conversation.
Relationships
Charles is friendly and amiable, but only in the presence of others. When in
the house, out of Djamila’s and Nadia’s earshot, he expresses his contempt
for Sami.
Djamila uses terms of endearment ‘c’est bien mon cœur’ which is meant to
reinforce her position as stepmother. She acts with purpose and appears to
be in charge. Her place in the family is accepted and clear.
When Djamila introduces Sami’s mother and Sami, Charles’ reaction seems
spontaneous; he kisses them, ‘faire la bise,’ in the traditional French manner
49/105
used with relatives and close friends.
Djamila hints at a lack of harmony in her family by stating that Charles and his
sister are ‘un peu special/un peu spéciale’, having also said just before to
Nadia that Charles was ‘adorable’. The juxtaposition of these two statements
makes the audience wonder if the family is really so well-adjusted.
Charles taunts Sami by claiming that despite his ‘dress up’ (déguisement) he
still is a ‘racaille des banlieues’. This taunt is used to assert his authority over
Sami and to make him feel unwelcome in the family.
The taunt is also a trap and a set-up. Sami reacts violently to Charles’ attempt
to find his ‘hoodie’ (survêt à capuche) in his bag. Charles has proven his
superiority and he is now confident that Sami is a racaille.
Sample questions
Part A
1 How does Sami react to his new surroundings?
2 How is social inequality explored in this extract?
3 What are Charles’ preconceived ideas about people from ‘les cités’?
4 Comment on Charles’ behaviour throughout this extract.
5 Compare and contrast the language used by Sami and Charles in this extract.
Part B
‘J’ai aussi fait de la recherche sur ta cité de Châlon ... ’
Vous êtes Charles et vous écrivez dans votre journal pour réfléchir sur l’arrivée de votre
cousin Sami et votre première rencontre avec votre tante et votre cousin. (à peu près 300
mots)
You are Charles and you write a diary entry reflecting on the arrival of your cousin Sami and
your first meeting with your aunt and cousin. (about 300 words)
50/105
Extract 3: Caroline
27/INT FIN DE JOUR/SALON/HOTEL PARTICULIER/NEUILLY
Toi, tu dois être Sami? Je suis Caroline, ta cousine et heu … Je suis
ravie que tu sois là! C’est drôle hein j’t’imaginais euh vachement
moins typé … Non mais attends attends attends, c’est très bien …
Parce qu’avec ta gueule d’Arabe, et bah … Tu vas emmerder tous les
bourgeois réacs du quartier! Ouais!
CAROLINE
Qu’est-ce que c’est que cette horreur, là?!
On va pas bouffer ça, c’est plein de conneries hydrogénées*, ce truclà!!
Marilyn, can you put this in the trash, please?
CHOW-YUNG-FI:
Lala Caroline! Smahli, hindik problem in el bab†!
SAMI
Attends mais c’est dingue ça, je comprends le chinois!
CAROLINE
Et moi, j’ai rien compris. Qu’est-ce qu’il a dit?
SAMI
Qu’y avait un problème à la porte d’entrée …
CAROLINE
Ah mais oui, c’est vrai il a pas les clefs du portail, j’y vais … Bon et
puis c’est pas du chinois, il a travaillé cinq ans en Algérie!
CHOW-YUNG-FI
Labès rouya? Ki féch‡?
SAMI
Quoi?
CAROLINE
Bon tu viens?
* conneries hydrogénées: transfat rubbish
† Smahli, hindik problem in el bab!: Excuse me, there is a problem at the front door!
‡ Labès rouya? Ki féch?: All is well my brother! How are you?
51/105
Issues
The impact of
social class
There are two comparisons for the audience: the first between the huge
house and the HLM where Sami is from, and the second between the photos
of Djamila’s family and Nadia’s wedding photo.
Inside the house we see Sami is ‘lost’ in unfamiliar surroundings. He is quite
hesitant and unsure, but smiles at the first familiar sight of the photo of his
parents’ wedding. A brief moment of happiness. This moment is cut short by
the entrance of Caroline via voice-off. Sami drops the photo as if he is guilty
and has been caught doing something he should not.
La bise: there is a moment of clumsiness, again demonstrating the difference
in milieu. On fait la bise twice in Caroline’s world and four times in Sami’s.
(Refer also to Sophie Bourgeois in the school playground.)
Caroline is effusive, gregarious and warm when she meets Sami. Her
behaviour is spontaneous because she is away from anyone else. Therefore
we can believe her welcome to be genuine: ‘Je suis ravie que tu sois là’. She is
elated at the fact that he looks Arabic.
However, her following gestures are impolite as she points at him and says:
‘avec ta gueule d’arabe tu vas emmerder tous les bougeois réacs du quartier’.
This indicates her social class: she can be quite dismissive because she has the
luxury of being in her own comfortable world.
With the incident with the cake, Caroline puts Sami down insensitively. Her
snobbishness, privilege and class are revealed as she orders Marilyn, the
maid, to throw the cake into the bin. Sami is probably shocked that his
mother’s gift is so despised and seen as only fit for the bin. Caroline’s actions
highlight her inability to see that she is part of the ‘neighbouring
reactionaries’ she has just decried.
The preoccupation with good food and healthy eating is a luxury of the
privileged class. (Similar to Charles and his jogging: le look/être en forme =
social status.)
The incident with the painter stresses Caroline’s inability to make the effort of
understanding the painter and reinforces class differences and her lack of
compassion and patience. She then tries to ‘align’ the painter and Sami with
the Algerian work reference: she categorises and stereotypes them both.
Costuming is also a sign of class. Caroline is fashionable: BCBG = Bon chic-bon
genre. Sunnies above her hair, cute scarf, strap-bag, probably all designer
brands. These clash with her proclamations of being for the lower classes =
satire.
Issues of
tolerance
Caroline has a stereotypical idea of what Sami should look like. Despite her
open welcome she still insults him: ‘avec ta gueule d’arabe’*. He looks in the
mirror to see why he is ‘typical’. However, Caroline thinks it is a compliment
and it highlights her lack of sensitivity, her ignorance and her preconceived
ideas.
Caroline is intolerant of her own social milieu. She is highly critical of the
neighbours and wants to push the boundaries. (See the Relationships
column.)
The painter represents immigration in France. He speaks Arabic because he
embodies all immigrants who search the world for work. Caroline, despite her
claim to care about the underdog, has little patience for this employee who
can’t speak French! This illustrates that her ideas are mere parodies of the
52/105
values she espouses.
The painter and Sami are both the outsiders in this extract. There is humour in
that they are able to understand each other. The gardener speaks Arabic
because he has worked in Algeria previously as an immigrant worker.
* Note: ‘ta gueule d’arabe’ refers to the common knowledge in France that
the police often carry out identity checks on ‘foreign-looking people’ (i.e ‘Arab
looking’).
Reference: There is another reference in the first few minutes of film when
Sami explains that he never goes into Châlon town centre because the ‘cops’
always ask him for his ID.
Relationships
Caroline, initially gregarious and warm, is loud and overpowering and gives
Sami welcome ‘bises’ in contrast to the preceding threats he just received
from Charles. Sami’s reaction to her is confused, in light of Charles’ initial nice
behaviour in front of others, followed by threats away from public scrutiny. It
is difficult for Sami to warm to her welcome.
However, Caroline’s next gestures are impolite and insensitive as she points to
Sami and says: ‘avec ta gueule d’arabe tu vas emmerder tous les bougeois
réacs du quartier’. We can observe his discomfort. He is ill at ease, defenceless
and confused.
Momentarily, Sami feels a rapport with the painter as he thinks he can speak
Chinese but it is Arabic. A touch of irony.
Sample questions
Part A
1 What is the significance of the photo that Sami picks up?
2 How are Caroline’s and Charles’ welcomes to Sami different?
3 ‘Tu vas emmerder tous les bourgeois réacs du quartier!’
Explain this quote.
4 What is significant about the fact that the Chinese painter speaks Arabic and the maid
speaks English?
Part B
‘C’est bien, parce qu’avec ta gueule d’arabe tu vas emmerder tous les bourgeois réacs du
quartier … ’
Tout de suite après la conversation avec Sami, Caroline fonce voir sa mère qui habite juste à
côté pour lui parler du nouvel arrivé. Ecrivez le texte de la conversation entre Caroline et sa
mère. (à peu près 300 mots)
Straight after meeting Sami, Caroline visits her mother, who lives next door. Caroline speaks
to her about the new arrival, Sami. Write the text of the conversation between Caroline and
her mum. (about 300 words)
53/105
Extract 4: Charles’ room
29A/INT NUIT/COULOIR/CHAMBRE CHARLES/HOTEL PARTICULIER
SAMI
(…)
DJAMILA
(…) Et voilà. Là-bas au fond c’est ton lit! Tu peux mettre tes habits sur
ces étagères. Et puis ce petit bureau, c’est pour faire tes devoirs … Ça va
aller?
SAMI
Oui oui oui …
JAMILA
Si tu as besoin de moi … je suis à la bibliothèque, au rez-de-chaussée.
Bonne installation mon chéri!
SAMI
Mortelle la déco!
29B/29C/
CHARLES
Oh, oh! Je peux savoir ce que tu fais, là?
SAMI
Heu … ça te dérange que je remplace ton affiche par la mienne?
CHARLES
Ah, parce qu’en plus t’es de gauche?
SAMI
Ah non! Non non je m’intéresse pas à la politique. Mais c’est à dire que
au-dessus de mon lit, je préfère ça. Je peux alors?
CHARLES
Non, tu peux pas! Ma chambre, tu l'aimes ou tu la quittes*!
SAMI
Ok, ok, pas de problème. T’es chez toi.
CHARLES
Et attention!
SAMI
Ouais c’est ça.
VOIX OPERATRICE PORTABLE Attention, crédit temps épuisé dans une minute …
VOIX REPONDEUR
Bonjour mon frère, tu es bien sur le répondeur de la
famille Dialo, si tu veux parler à Rhamadou, à
Mamadou, à Moussa, à Amina, à Fatoumata, à Bakari, à
Semba, à Boumba, à Youssoupha, laisse un message
après le bip.
VOIX OPERATRICE PORTABLE Crédit temps épuisé, vous disposez de 15 jours …
* A Sarkoism (see cultural references).
54/105
Issues
The impact of
social class
Djamila takes Sami into Charles’ bedroom. They are sharing because ‘il y a des
travaux au deuxième étage’.
Sami looks around in bemusement at the posters and photographs. The
posters are all of political figures of the right. As they enter the room there’s a
photo on the wall of Charles with Nicolas Sarkozy.The other posters are all
leaders of right-wing parties (George W. Bush, Chirac, De Gaulle, Charles
Pasqua, Berlusconi and Rachida Dati, Sarkozy’s right-hand woman in cabinet
and Minister of the Interior). The décor is alien to Sami. It looks as if the room
is from the Ancien Régime (brocade curtains, bedheads, canapé). It is a huge
and well-equipped room in comparison with Sami’s room in their former
apartment in the cité.
There is a bust of Napoleon on the desk and the symbol of the UMP (Union
pour le Mouvement Populaire, a right-wing party) as a screen saver on
Charles’ computer. The UMP symbol is also on the bedroom door, along with
one of Sarkozy’s famous sayings ‘travailler plus pour gagner plus’ (a parody of
reussir plus etc … a play on words by the director of the school in Extract 5).
Despite the obvious wealth of the family, Sami has to share the room with
Charles and is given the canapé to sleep on, which looks very uncomfortable.
It seems little effort has been made to accommodate Sami, thus accentuating
his discomfort and alienation.
Even the music in the background is unfamiliar, but again stresses Charles’
allegiance: it is a song by Carla Bruni (‘Quelqu’un m’a Dit”). She is the wife of
Nicolas Sarkozy, President of France 2007–2012. She is also a popular singer.
Note the irony of the music. Sami is unaware of these symbols; he finds the
formality of the bedroom disquieting and alien to him.
Sami’s comment ‘mortelle la deco’ is not political but rather a comment on
the boring nature of the room’s furnishings: definitely not relating to youth or
popular culture. Hence his attempt to put up his own poster, something
familiar and relevant to him.
Charles is hiding in the wardrobe (very odd behaviour), watching. As Sami
goes to pin his poster of Charlize Theron over the large poster of Sarkozy,
Charles storms out of the wardrobe and puts Sami in his place regarding the
rules of his bedroom.
Sami tries to contact his friends on his mobile. However, surrounded by the
wealthy trappings of the room, he suffers from ‘crédit épuisé’. He looks out of
the window, morosely, but is little affected by the beautiful view of Paris by
night. He then notices Marie playing the violin and is cheered by the sight.
Issues of
tolerance
Charles admonishes Sami with ‘Tu l’aimes ou tu la quittes’ which is
reminiscent of a political slogan of his hero Sarkozy when talking about the
problem of immigrants in France. Charles pays lip service to being nice to Sami
in front of the adults but he is quite different when he and Sami are alone.
Charles is not at all tolerant.
There is an extreme contrast between the house in Neuilly and the banlieue
from which Sami comes. The only thing that Sami knows of Neuilly is its
association with Sarkozy. However, there seems to be little difference in the
portrayal of Nadia, Sami’s mother, and her sister Djamila: they look similar
although their circumstances are very different.
Charles’ interest in the politics of the right is reflected in his room’s décor.
55/105
There is the reminder that Sami is poor because he does not even have
enough credit left on his mobile to contact his friends.
There is a parody of Charles’ extremism. Sami is powerless and he has to
conform: ‘OK, pas de problème ... tu es chez toi’. What is left unsaid is: ‘et moi
je ne le suis pas’. As Charles leaves the room, he threatens Sami again.
Cut to a dejected Sami on the canapé. Firstly a long shot then a side-on closeup, in profile, as he reaches for his mobile. The close-up highlights his misery
and his need to connect to old and familiar friends, especially as his mother is
gone.
His isolation in these unfamiliar, unwelcoming, threatening surroundings is
compounded by his need for familiarity; hence he tries his mobile but is
thwarted by having no credit. This is ironic given the wealth in his new home.
Sami seems abandoned by all in this ‘lion’s den’.
Shot of Sami alone on the sofa. The humour of the recorded mobile message
is lost on Sami ... he is too sad.
Message: stereotyping of names and numerous family members, yet there is
support, warmth (friendliness compared to the welcome from Djamila’s
family), there is unity and familiarity to be found in his friends’ company,
unlike these new, harsh, rich people.
Relationships
Djamila welcomes Sami and is happy to have the chance to do something for
her sister Nadia. Sami is obviously at a loss when he is left alone in the room.
He tries to put something familiar up on the wall, even if it is only a Charlize
Theron poster (he likes blondes). However, Charles is a little alarmed by
Sami’s ‘left’ tendencies and tells him the rules of his room, which Sami accepts
willingly, saying, ‘c’est ta chambre’.
Close-up cut to wardrobe door slightly ajar to reveal Charles spying on Sami.
We see Charles’ POV (point of view) as Sami tries to put up his poster above
the bed where he will sleep instead of having Sarkozy’s poster looking down
on him.
This is too much for Charles. He exits the wardrobe aggressively as Sami tries
to cover his hero’s image. He asserts his rights and points a threatening finger
at Sami, forbidding him to change anything in his room.
This confirms Charles’ difference to other adolescent boys. He prefers his
political hero’s poster to that of a beautiful blonde. This also confirms he is an
opportunistic bully. He rejects Sami, accusing him of being a leftist. Poor Sami
– he does not have a political bone in his body!
Parody of Charles’ extremism.
Sami is powerless and has to conform: ‘OK, pas de problème, tu es chez toi’
(what is left unsaid: ‘et moi je ne le suis pas’).
As Charles leaves the room, he threatens Sami once again.
56/105
Sample questions
Part A
1 What does the décor of Charles’ bedroom reveal about him?
2 ‘Mortelle la déco!’
How does Sami reacts to Charles’ room?
3 Why is Charles hiding in the wardrobe?
4 How is Sami’s loneliness explored through film technique?
Part B
‘Bonjour mon frère … tu es bien sur le répondeur de la famille Dialo ... Laisse un message
après le bip … ’
Tu es Sami. Imagine la conversation que tu aurais eue si tu avais réussi à joindre ton ami
Mam Dialo au téléphone. (à peu près 300 mots)
You are Sami. Imagine the telephone conversation you would have had if you had been able
to speak to Mam. (about 300 words)
57/105
Extract 5: The principal’s office
33/INT JOUR/BUREAU DIRECTRICE/ECOLE SAINT-EXUPERY
LA DIRECTRICE
Je vous rappelle que nous avons le meilleur taux de réussite des
Hauts-de-Seine et que je ne peux me permettre aucun écart.
Pour qu’il ait un soutien, je l’ai mis dans la même classe que Charles.
Bon vous me dites que c’est un bon élève et qu’il a sauté une classe,
mais j’attends toujours que son collège me transmette son carnet
scolaire. Et s’il n’atteint pas la moyenne, il retournera passer son
brevet à l’école publique.
Nous sommes d’accord, Madame de CHAZELLE?
DJAMILA
Nous sommes d’accord. Tu as compris, Sami?
SAMI
Oui, oui … Mais excusez-moi Madame, c’est combien la moyenne
ici?
DIRECTRICE
Ça commence bien! Comme dans toutes les écoles du monde: 10 sur
20!
SAMI
Oui ça je sais. C’est que dans mon ancien collège, ben la moyenne
c’était 8.
DIRECTRICE
8?
SAMI
Oui. Mais attendez! Moi j’avais 12. Alors un 12 de Chalon, ça doit
bien faire un 10 de Neuilly, non?
DIRECTRICE
Je vous le souhaite … Mais n’oubliez pas qu’ici on étudie plus pour
réussir plus*! Bon …
Tenez, le règlement intérieur et la lettre de Guy Môquet †!
Vous devez l’apprendre par cœur.
* A Sarkoism (see cultural references).
† All students in France now have to learn this letter of historical significance.
58/105
Issues
The impact of
social class
Djamila and Sami are in the principal’s office. The principal is saying that Sami
must come up to the standards of the school, otherwise he will sit his exams
in a public school. The principal is quite adamant about this, even though it is
said in a pseudo-pleasant manner. Djamila and Sami sit across from her,
looking as if they are in trouble.
Nevertheless, Sami is not as cowed as his aunt seems to be. He has the
courage to ask the principal about la moyenne at the school. She replies
sarcastically ‘Ça commence bien!’ as if this question is out of line. Both Djamila
and Sami agree that he has understood the rules under which he has been
accepted. The principal says, ‘ici on travaille plus pour réussir plus’, which is a
variation on Sarkozy’s slogan, mentioned in the previous extract. Her final
directives are that Sami learn Guy Môquet’s letter by heart as per Sarkozy’s
rule made for all students in 2007. (See cultural references.)
The principal is wearing a sombre suit with a large, gold brooch. She is also
wearing glasses. She is almost a caricature of a French school principal in her
manners and dress.
Issues of
tolerance
The principal speaks in a very condescending tone and manner.
It is interesting to note that Djamila says practically nothing throughout the
interview. ‘Nous sommes d’accord Madame de Chazelle?’. She seems
intimidated in this milieu and is aware that the school is only just tolerating
her nephew’s presence.
Sami, on the other hand, is quietly assertive because he wants to be informed
and is unaware of the implicit rules of interaction here.
Relationships
Camera pans on the décor before focusing on the principal.
We see the school plaque with gold inscriptions ‘Travail – Discipline –
Réussite’ surrounded by an impressive bronze bust (this could possibly be a
bust of Pasteur as the film was shot at the Lycée Pasteur in Neuilly), a classic
Greek bronze athlete, a trophy, classical books, a crucifix and the edge of the
Pope’s picture. These are all symbols of the upper middle class and Catholic
educational values, aspirations and old-world acceptability. These surround
the principal at her imposing desk, affirming her power and what she
represents.
The principal’s large, comfortable armchair highlights the uncomfortable
hard-backed chairs used by Sami and Djamila. The inequality between the two
groups is maintained and the principal holds the upper hand.
The camera tracks down to reveal the principal and tracks backwards to show
Sami and Djamila with the full picture of the Pope facing them. We know they
are Muslim and this is another confronting image of their difference.
Cuts between Sami, the principal and Djamila to show their reactions.
The principal lays down the law and they have to accept this, as she holds the
power. The office surroundings uphold and affirm her power over her
territory.
When Sami talks to the principal the camera shows a stuffed fox behind him.
This could be a reference to St Exupéry’s novel The Little Prince. (See cultural
notes.)
59/105
Sample questions
Part A
1 To what does Sami compare his new school?
2 What is the motto of Sami’s new school? How does the principal, la directrice, reinforce
this motto?
3 How does the mise-en-scene contribute to the atmosphere in this extract?
4 Explain the changes in Djamila’s behaviour and demeanour.
Part B
La Directrice: ‘Mais n’oubliez pas qu’ici on étudie plus pour réussir plus’.
Vous êtes la directrice et vous écrivez un compte-rendu sur l’entretien entre vous, Sami et sa
tante pour le dossier scolaire de Sami. (à peu près 300 mots)
You are the principal of the school and you write a report on the interview between yourself,
Sami and his aunt Djamila for Sami’s school file. (about 300 words)
60/105
Extract 6: Introduction to the class
MADEMOISELLE BLANCHET
Alors je vous présente votre nouveau camarade … Sami
Benbambou.
SAMI
Heu … C’est ‘Benboudaoud’, Madame.
Heu … s’il vous plait il y a rien de drôle. Je dirai ‘Sami’
hein c’est plus simple.
Alors Sami qui nous vient d’une banlieue ‘difficile’, dont
le papa est mort, et dont la maman est partie travailler sur
un bateau, c’est bien ça hein?
SAMI
Heu oui c’est ça.
Alors allez-vous asseoir là-bas mon poussin! S’il vous
plait les bruits de basse-cour …
Alors vous n’oubliez pas que le Japon c’était déjà ouvert
à l’occident une première fois à l’occasion de
l’ère Meiji …
En … ? Qui se souvient de la date?
CHARLES
1868!
1868, bravo Charles!
GUILAIN
Et mademoiselle y’a un livreur* de chez Monoprix† dans
la classe!
S’il vous plait! Alors, le Japon c’est aussi une tradition
…
* livreur: delivery person
† Monoprix: a popular retail store in France
61/105
Issues
The impact of
social class
The students all stand when la directrice enters the room and she leaves the
teacher to introduce Sami with the remark, ‘This is the student I told you
about’.
Charles is obviously annoyed when Sami comes into the room and studiously
ignores him. This harks back to the previous conversation when he said he did
not want to be in the same class as Sami. Charles is a good student and he
answers the question the teacher asks even though most of the class is
laughing and calling out.
This setting is totally foreign to Sami who is like a fish out of water.
The three blond boys sitting in the back of the class are the ones who make
the most noise. One boy, Guilain, notices that Sami still has a shop label
attached to his clothes and he calls out to the teacher, ‘Il y a un livreur de chez
Monoprix dans la classe’.
This action shows Guilain’s lack of respect and sense of entitlement to invade
Sami’s personal space. After this incident, Sami is nicknamed ‘Monop’, which
causes more laughter and Sami is embarrassed. Monoprix is a ubiquitous shop
similar to Target in Australia.
When the bell rings, the class leaves in an orderly manner, unlike the chaos
we witnessed in Sami’s former school in a previous scene.
Note that the blond boys from this class will feature as the bullies who
torment Sami throughout the film.
At various times the class makes a lot of noise, however there are no real
discipline problems.
Issues of
tolerance
The teacher, Mademoiselle Blanchet, is quite protective in the way she stands
and seemingly shelters Sami. Though she is actually trying to be especially
nice to Sami, what she says and the way in which she acts towards him makes
Sami more of an outsider than he already is. She mispronounces his name,
which causes all the students to laugh, and they do so again when Sami
corrects the pronunciation.
The introduction that is given by Mademoiselle Blanchet is quite unusual, as if
he were from another planet (i.e. Une banlieue dite ‘difficile’).
Everything she says about his parents is inappropriate. Her lack of awareness
stereotypes Sami further and alienates him in the present setting. Similarly
her term of endearment, ‘mon poussin’ is not appropriate for someone of
Sami’s age and it causes mirth and ridicule. The general brouhaha of the class
is representative of the lack of welcome and acceptance of the newcomer.
Relationships
The teacher indicates Sami’s seat with the term ‘mon poussin’, which causes
general hilarity, and the students make chicken noises as he sits down.
Mademoiselle Blanchet should not have used this term of endearment. She
doesn’t know Sami and it is inappropriate. However, she seems to want to
protect him.
The students around him are all blond, caucasian and Catholic, the complete
opposite to the melting-pot of backgrounds in Sami’s cité.
Marie, the girl next door who plays the violin, is fortuitously in Sami’s class as
well. There is the exchange of a smile of complicity between them.
Charles does not offer any support, as he is annoyed that Sami is in his class.
This once again highlights the lack of care or relationship between the boys.
62/105
Sample questions
Part A
1 Comment on the teacher’s behaviour towards Sami when he arrives in class.
2 How does the class behave in this extract generally?
3 In this extract what does Charles’ behaviour further reveal about his personality?
4 How does the mise-en-scene highlight the differences between Sami and his new
classmates?
Part B
Sami: ‘Heu … C’est ‘Benboudaoud’ Madame.’
Tu es Sami et tu écris un email à tes camarades de ta première journée à l’école. (à peu près
300 mots)
You are Sami and you write an email to your friends about your first day at school. (about
300 words)
63/105
Extract 7: Dinner with the family
47/INT SOIR/SALLE A MANGER/HOTEL PARTICULIER
CAROLINE
Tiens papa, c’est pour toi.
STANISLAS
Oh, mais qu’est-ce qui me vaut un cadeau de ma Caroline chérie? C’est
quand même pas mon anniversaire?! Ah oui d’accord ‘Porc-Ever assassine
la Bretagne!’
CAROLINE
Bah oui! C’est à cause de patrons comme toi que les Bretons ne peuvent
plus boire l’eau du robinet!
STANISLAS
Oui! Je sais! Et bientôt la banquise va fondre et les ours polaires mourront
tous dans d’atroces souffrances! Bon si tu veux, on reparlera un plus tard
mon cœur car aujourd’hui c'est le premier repas de Sami avec la famille au
complet. Alors, tâchons de lui offrir une bonne image de nous!
CHARLES
Avec elle, ça va être difficile!
CAROLINE
Mais excuse-moi de m'intéresser à autre chose qu’à ma gueule!
CHARLES
Mais t'en as rien à faire de l'environnement! La seule chose qui t'intéresse
c'est de faire chier papa.
STANISLAS
ÇA SUFFIT MAINTENANT!!! Et sur ce, un bon appétit! Alors Sami,
j'imagine que la vie à Chalon devait être assez … ‘différente’, non?
SAMI
Oui, tout à fait. Ce n'était pas pareil …
STANISLAS
Il est adorable … Et alors? Tu habitais dans une cité? Raconte-nous la vie
dans une cité! Ça doit être … passionnant.
CHARLES
Vous voulez que je vous dise? Les vraies victimes en banlieue, c’est les
forces de l’ordre.
STANISLAS
Ne recommence jamais ça!!!
SAMI
Mais, qu’est-ce que j’ai fait monsieur, qu’est-ce que j’ai fait?
DJAMILA
C’est rien mon chéri. Tu ne pouvais pas savoir. C'est juste que dans les
vieilles familles françaises, on ne coupe pas sa salade avec son couteau,
on la plie avec sa fourchette …
SAMI
Pardon, j’suis désolé … je recommencerai plus monsieur!
CAROLINE
C’est nous qui sommes désolés, Sami. Papa est totalement old-school et
psychorigide!
DJAMILA
Franchement, tu devrais consulter un psy.
64/105
STANISLAS
Et pour lui dire quoi ? Que ma mère me tapait avec des couverts en argent?
Ah quoi bah oui, bah voilà … c’est dit, alors n’en parlons plus … Alors
Sami? La vie en banlieue?
CAROLINE
C'est dégueulasse la façon dont l'Etat a traité ces pauvres gens en les
parquant comme des chiens dans des HLM crasseux. Ça c’est dégueulasse!
CHARLES
En même temps, on connaît tous la solution … Un bon coup de Karcher!
DJAMILA
Charles c’est bon!
CHARLES
Non, mais c’est vrai …
SAMI
Moi j’crois que c’est ta bouche que tu devrais passer au Karcher.
CAROLINE
Bien parlé, petit cousin!
DJAMILA
Bon! Et bien moi, je vais chercher la suite. Hein?
CHARLES
Il m’insulte et toi tu ne dis rien?
STANISLAS
Mais c’est toi qui as commencé.
CHARLES
J’ai rien dit de mal … Juste la vérité.
CAROLINE
La vérité ? T’es déjà allé dans une cité?
CHARLES
Non mais ça va pas ou quoi?! …
CAROLINE
Bon ben alors, de quoi tu parles? Tais-toi!
SAMI
Elle a raison. Tais-toi!
DJAMILA
Roti de dindonneau purée.
CHARLES
Mais je croyais que c'était ‘saucisse purée’ aujourd’hui?
DJAMILA
Oui … voilà. Eh bien on va changer ce soir ça sera du dindonneau!
CHARLES
Ah … C'est à cause de lui? …
CHARLES
Et quoi, c’est quoi la prochaine étape? Plus de vin à table? On mange tous
hallal? … Je suis prêt à faire des sacrifices, mais renoncer à ma saucisse
purée, ça jamais!
STANISLAS
Bon tu sors de table … tu vas dans ta chambre! Privé de dîner!
CHARLES
Ok très bien! Vous n’aurez pas ma liberté de manger!
STAN
Oui c’est ça …
CAROLINE
Non mais quel facho*! Je propose une réunion participative pour décider de
sa punition.
CHARLES
Mais retourne bouffer tes graines de soja avec tes SDF†, espèce de bobo‡
conasse§!
65/105
* facho: short for fascist
† SDF: Sans domicile fixe; the homeless
‡ Bobo: bohemian
§ conasse: stupid
Issues
The impact of
social class
Caroline attacks her father Stanislas de Chazelle via her ‘gift’ for the
environmental damage that his factory supposedly causes in Brittany. The
emphasis here is on social inequality: contrasting the rich industrialist family
having a pleasant meal at home while the workers in Brittany are no longer
able to drink the water because of pollution.
The contradiction of Caroline as the spokesperson for the socially
disadvantaged while dressed in her BCBG gear and surrounded by wealth and
privilege is deliberate, in order to provoke a reaction from the audience.
Stanislas has been brought up with a specific set of (outdated) table manners,
and he is unable to tolerate the behaviour of someone who does not share
this (Sami cutting his salad with his knife). Stan’s behaviour characterises the
external signs of someone belonging to a specific social group to the point of
caricature. His class, and the fact that he is the head of the family, entitle him,
in his own eyes, to intimidate, bully and impose his rigid social code of
conduct on others. This same sense of entitlement is mirrored in his
insensitive probing into Sami’s life in ‘une cité’.
Stanislas pries into Sami’s background, not to establish a personal connection
but to satisfy his curiosity about what he perceives as exotic.
When Stan admits that his mother smacked him with the silver cutlery it
surprises his family. This explains some of his inflexibility but also highlights
that violence within families has no social barrier.
The discussion about life in la cité gives an opportunity to the director to
oppose Caroline’s and Charles’ points of view. Charles has conservative ideas
and believes that the police are the victims of the tough life in the banlieue
(‘les vraies victims en banlieue, c’est les forces de l’ordre’) and the solution to
the problems of cleanliness are ‘un bon coup de Karcher’, a parody of
Sarkozy’s outburst when he was Minister of the Interior in 2005. (Refer to the
cultural references.) Whereas Caroline, with her leftist ideas, believes that the
victims are the poor families who live in the HLM.
The choice of ‘saucisse purée’ as the family dinner is amusing. It is not a
gourmet meal and would not usually be associated with an upper class family.
Issues of
tolerance
Stanislas wishes to learn about life in ‘la cité’ but his attempts at getting to
know Sami lack warmth. His efforts to welcome Sami fall short and indicate
his deep ignorance (due to his social class) and uneasiness in this situation.
Djamila has ordered a specially cooked meal in order to avoid pork (sausages),
which would have upset Sami. This is a great disappointment for Charles who
was expecting pork sausages and mashed potatoes. Charles’ culinary tastes
are conventional and his lack of tolerance is deplorable.
Charles’ reference to Sarkozy’s famous comment of ‘cleaning the banlieues au
Karcher’ provokes Stan to banish Charles to his own room without dinner.
There is a lack of tolerance of ideas and values between Caroline and Charles.
66/105
Charles’ lack of tolerance is reflected in his comment, ‘ ... c’est quoi la
prochaine étape … on mange tous Hallal?’.
Charles is petty and narrow-minded. He can’t accept the different routine and
meal and considers this a ‘sacrifice’. He adds insult to injury by confusing the
homeless with the ‘greenies’. Anything he disapproves of, he condemns.
Caroline tries to upset her father to vindicate her green tendencies. She plays
upon her virtues to get Charles sent off to his room but reacts strongly when
he makes fun of her bohemian tendencies (‘bobo conasse’) and chases him
out of the dining room.
As he gets banished to his room, Charles does not give his permission to the
family to have dinner. His lack of sensitivity and his intolerance are highlighted
in his stylised reply, a type of reply that would not usually be used by an
adolescent.
Relationships
Stanislas attempts to emphasise the notion of family to welcome Sami to his
household. (The holding hands scenario.)
The relationship between Caroline and her father is tender but realistic.
The relationship between Charles and his father seems less supportive.
The relationship between Djamila and Stanislas is tense but they maintain
appearances.
Djamila plays the role of the hostess, adhering to all the social niceties but is
still not fully accepted by the family. There is a lack of involvement with her.
The level of tension between the members of the De Chazelle family implies
that this type of interaction is a regular occurrence.
Interestingly, both Charles and Caroline are argumentative and rude at the
dinner table. Their behaviour illustrates a lack of harmony and displays the
symptoms of a dysfunctional family.
When Sami cuts the salad with a knife (as opposed to folding it with his fork)
and Stanislas loses his cool, it indicates that appearances and discipline are
very important in his family. There is an interesting contrast within this scene:
Stan’s mother hit him for cutting his salad, yet he allows his children to run
riot at the table.
Charles uses his expulsion from the table to insult Caroline one more time.
Sample questions
Part A
1 Explain Caroline’s motives for giving her father this present.
2 How does Stanislas react to the gift?
3 Analyse the tensions in this extract.
4 How do we know that some of the arguments or disagreements that occur around the
dinner table seem to have occurred before?
5 Explain why Charles is finally banished from the table.
67/105
Part B
Caroline
‘Non mais quel facho! Je propose une réunion participative pour décider de sa
punition.’
Charles
‘Mais retourne bouffer tes graines de soja avec tes SDF, espèce de bobo
connasse!’
Ecrivez la conversation entre Charles et Caroline après avoir quitté la table. Focalisez sur les
choses avec lesquelles ils ne sont pas d’accord. (à peu près 300 mots)
Write the conversation between Charles and Caroline after having left the dinner table.
Concentrate on what they do not agree on. (about 300 words)
68/105
Extract 8: The canteen
69/INT JOUR/CANTINE ECOLE
SAN PELLEGRINO
Bah tu peux pas faire attention? On t’a rien appris à Chalon?
GUILAIN
Ah, non, là j’suis pas d’accord, c’est dégueulasse c’que tu viens de
faire! Tu t’excuses!
SAN PELLEGRINO
Non mais, ça va pas ou quoi?!
GUILAIN
J’ai dit tu t’excuses, Pierre Walter! Tu t’excuses!
SAN PELLEGRINO
Aieee, arrête! Ok c’est bon … Je m’excuse! Je m’excuse!!!
GUILAIN
Allez, casse-toi! Excuse-le, Sami. J’suis désolé.
SAMI
C’est pas grave …
GUILAIN
Bon écoute, j’ai réfléchi, c’est ridicule, nos embrouilles. Je te prie
d’accepter mes excuses.
SAMI
Bon ben, d’accord!
GUILAIN
Et pour Marie, tu peux la garder, c’est vrai qu’elle est mimi mais elle
est vraiment trop jeune pour moi! Tiens!
SAMI
Non, non non merci, désolé je mange pas de porc.
GUILAIN
T’inquiètes. Tu peux y aller: j’suis feuj*. Chez nous non plus on
mange pas de porc: c’est du veau.
SAMI
C’est du veau?
GUILAIN
Dis-moi, un truc: Charles t’a invité au brunch du Racing?
SAMI
C’est quoi un brunch?
GUILAIN
C’est une sorte de petit déjeuner qui dure toute la journée!
SAMI
T’es sûr que c’est pas du porc?
GUILAIN
Ah ben, je peux te garantir que si les cathos de Saint Ex me faisaient
bouffer du porc, mes parents ils feraient un scandale monstrueux!
SAMI
Bon, ben, merci alors!
GUILAIN
Par contre, faudra que tu me dises avant jeudi, pour le brunch. Parce
que, moi aussi, je peux te faire inviter.
SAMI
C’est gentil. Tu sais ça me fait plaisir qu’on se réconcilie.
GUILAIN
Carrément!
GUILAIN
Au fait, j’suis pas juif, et ça c’est Khalouf†: c’est du porc!
SAMI
Enculé!
* feuj-juif: Jewish
† Khalouf/halouf: pork
69/105
Issues
The impact of
social class
Pierre-Walter, carrying his lunch, deliberately bumps into Sami and drops his
tray. He abuses and shouts at Sami. Sami’s reaction is subdued and quite
conciliatory despite the physical and verbal aggression towards him.
Pierre-Walter accuses Sami of bad manners and that he has not learnt much
about anything in Châlon.
Note the contradiction of the Catholic symbols in this scene, which highlight
Sami’s exclusion and the other students’ hypocrisy. Sami is belittled and
insulted while the others just look on.
Sami’s inequality is again stressed when he is invited to a brunch and he does
not know the term.
Issues of
tolerance
Guilain offers Sami lunch, insisting that it is not pork even though it is a
blatant lie. Guilain goes as far as saying he is Jewish to convince Sami that
they are both outsiders.
Guilain leans in conspiratorially to assure Sami that it is alright to eat the
meat. Guilain is like a spider luring a fly into his web.
Sami allows himself to be convinced and finally eats the meat, only to be
cruelly deceived, not only by Guilain but also the other students who were
watching the scene expectantly. Their conspiracy is highlighted by the
snorting sounds heard on the soundtrack before we see the cut to Guilain’s
friends and connivers making pig gestures.
This emphasises the blatant bullying in the school and Sami’s rejection from
this milieu.
Sami explodes and head-butts Guilain. The scene ends with Guilain crying:
‘Maman!’, which is a subtle irony.
The last line of the extract demolishes any semblance of trust and friendship
that was established.
It is worth noting the contradiction between what the institution purports to
represent and the reality of what happens.
Relationships
There is the unexpected intervention by Guilain to Sami’s defence. The
audience is as suspicious as Sami is. It seems too much of an about-face. Is
Sami being set up?
Then there is a camera cut to Sami eating alone while everyone else is
grouped together. Note there are more religious symbols again in the
background but on different walls, further adding to Sami’s alienation and
isolation.
Guilain ‘hands over’ his rights to Marie, dismissing her by saying that she is
too young for him; note the way he treats people as possessions. As a
member of the ruling class he feels he owns people.
Guilain: ‘tu peux la garder’ = referring to Marie Penel. He makes her feel like a
possession. Note the sense of ownership; the privileged class decides who can
or cannot do what they wish.
The audience knows Marie rejected Guilain at the party. Hence his
‘generosity’ in ‘giving’ Marie to Sami is hollow and alerts the viewers to his
probable duplicity.
70/105
Sample questions
Part A
1 Explain Guilain’s behaviour at the beginning of this extract.
2 Describe the sequence of Sami’s reactions throughout the extract.
3 What makes the betrayal at the end of this extract so hurtful to Sami?
4 Guilain: ‘Ah ben, je peux te garantir que si les cathos de Saint Ex me faisaient bouffer du
porc, mes parents ils feraient un scandale monstrueux!’
What does Guilain’s use of language here reveal about him? Find other examples in this
extract to support your answer.
Part B
Guilain: ‘Au fait, j’suis pas juif ... ’
Tu es Guilain. Raconte sur ta page d’accueil de Facebook ce que tu as fait à Sami à la cantine
aujourd’hui. (à peu près 300 mots)
You are Guilain. Recount on your Facebook page what you did to Sami today at the canteen.
(300 words)
71/105
Extract 9: First encounter with les Picassos
92/EXT JOUR/RUE NEUILLY
SAMI
T’aimes le soleil, maintenant?
CHARLES
Pourquoi tu dis ça?
SAMI
T’es sur mon trottoir!
CHARLES
Oh, ça va, j’suis pas d’humeur à me faire charrier!
SAMI
Qu’est-ce qu’y t’arrive? On t’a pas renouvelé ta carte de l’UMP
c’est ça ?
CHARLES
J’ai commandé un sondage express pour les élections. Sur 26
élèves, il y en a un seul qui a l’intention de voter pour moi.
SAMI
Je sais … C’est moi!
CHARLES
Pourquoi tu voterais pour moi?
SAMI
J’ai le choix entre la peste et le cholestérol, alors …
CHARLES
Ah merde, les Picassos! Bon Surtout, on baisse la tête et on trace
tout droit ok!
SAMI
Ok.
LE CHEF PICASSO
Po! Po! Pop! Bonjour messieurs police de Neuilly, police des
frontières, douane volante … Ho Charlie! Comment tu m’as
manqué Charlie! En plus tu tombes bien j’ai un mariage la semaine
prochaine à Nanterre tu me passes ton blazer?
LE 2e PICASSO
On veut tout: le portable, iPod, pochette, là vas-y, tout de suite, tout
de suite!
LE CHEF PICASSO
T’as entendu ce qu’il a dit, le monsieur?
SAMI
Oh! Oh! Attendez les gars, moi aussi je viens d’une cité!
LE 3e PICASSO
C’est ça, ouais. Et nous, on est les fils cachés de Carla Bruni*.
SAMI
Sur la tête de ma mère que c’est vrai j’viens de Chalon!
PICASSO
Mais laisse ta mère tranquille et dessape toi petit!
LE CHEF PICASSO
Il vient de Chalon!
CHARLES
Laisse tomber, Sami, on donne tout et on se casse.
LE CHEF PICASSO
Voilà écoute le prince Charles il a raison! Donne-moi ta cravate!
SAMI
Waouh … Trois grands contre deux petits! Vous êtes des vrais
caïds les gars!
72/105
LE CHEF PICASSO
Ecoute-moi bien Einstein … Donne-moi ton portable et ferme ta
gueule! Vite, on n’a pas le temps, là!
CHARLES
C’est bon me frappez pas, j’donne tout …
PICASSO
J’vais pas te frapper tout de suite, donne-moi ta ceinture!
SAMI
Tire-toi Charles!
CHARLES
Au secours, police, enculés, voleurs …
93/EXT JOUR/IMPASSE DEBUSSY
CHARLES
Mais t’es un grand malade, toi, t’as failli nous faire tuer!
SAMI
N’empêche qu’on les a bien ‘marave’† quand même!
CHARLES
Ouais, ben la prochaine fois que tu veux jouer les héros, tu le fais
sans moi!
* Carla Bruni: pop singer; wife of Nicolas Sarkozy.
† Marave: tapés – frappés (argot) on les a bien eu!: We really got them!
73/105
Issues
The impact of
social class
In the opening lines, Sami jokes about Charles’ membership of the UMP not
being renewed, which reinforces Charles’ right-wing stance.
Contrast between Charles’ and Sami’s clothing (school uniform) and les
Picassos (American gangster-style). There is humour in the use of the term
‘Prince Charles’ and ‘les fils cachés de Carla Bruni’ and the sarcasm of the
pseudo impromptu meeting between the two groups.
Charles comes from a class that doesn’t get involved physically and he is
happier to hand over his belongings to les Picassos rather than fight. Whereas
Sami is used to fighting and is not scared of les Picassos at all. The upper class
can afford to have others do their dirty work, including their standover tactics
(e.g. Guilain paying les Picassos).
Film technique: Prior to this extract, we see Guilain in an alley handing over
money to someone off the elegant street. Note the music as a link between
the handing over of the money to the introduction of this extract.
Both Sami and Charles are in school uniform, conservatively dressed. Charles
even carries a leather briefcase (like a businessman). Les Picassos wear the
stereotypical singlet tops, clad as basketballers or gangsters, with bandannas
and caps and adorned with gaudy jewellery. (Gangsters = ‘racaille’.)
Issues of
tolerance
Although Sami jokes about Charles coming over to his side of the pavement,
we realise that Charles is only doing this because he needs company after the
distressing news regarding the survey about the class’ support for a new
representative. Sami does not object to Charles’ intrusion on ‘his’ pavement
and takes the opportunity to make fun of Charles’ angst.
The stereotypical appearance of les Picassos: their clothing (singlets, caps,
bandannas and jewellery) and their behaviour reflects the influence of
American gangsters/rappers. They stand out in the suburb of Neuilly.
Sami is used to living in a multicultural community and tries to reach out to les
Picassos, as someone belonging to their social class: ‘Moi aussi, je viens d’une
cité’. But les Picassos only make fun of him and do not believe his story. Their
minds are closed to this possibility. They could not tolerate that they would be
hurting one of their own kind.
les Picassos feel no qualms taking from the rich kids of Neuilly. They
themselves are poor and destitute and see these rich kids are fair game.
Relationships
Sami seems quite at ease with Charles, smiling and joking with him about
losing his membership of the UMP and the poor choice of candidates ‘la peste
et le cholesterol’ (reference to an earlier scene in a school in Chalon).
This is a more relaxed atmosphere from Sami’s point of view. Charles is
confiding in Sami his fears of losing the class election, compared to his
previous aggressive behaviour.
Sami’s actions in pushing the bin and knocking over les Picassos saves them
both from being attacked and having to hand over their belongings. Despite
Sami’s kindness and generosity and act of friendship towards him, Charles
takes advantage of the situation. Instead of thanking Sami for saving him, he
chastises him as he feels his life has been endangered by Sami’s actions: ‘Mais
t’es un grand malade, toi, t’as failli nous faire tuer’. (At the end of this scene,
Charles teases Sami about the imminent bruise and his date. He also states
the possibility that this incident might favour him with a few more votes).
74/105
Film technique: As the two boys walk close together, side by side, on the same
footpath, discussing the problematic future class election for a new delegate,
there is a kind of comradeship between them that has not been evident
before in the film. They are framed together and the close-ups allow their
emotions to be evident and ‘normal’.
Sample questions
Part A
1 What is the function of the music at the start of this extract?
[ANSWER it is a carryover from the preceding shot which creates the link between the
deal Guilain was doing with ‘faceless’ characters and those we meet in this scene: les
Picassos. It makes us realise that this scene has been set up by Guilain and not ‘la racaille
de la rue.’]
2 Why does Malik introduce the group as: ‘police de Neuilly, police des frontières, douane
volante’?
3 Compare Sami’s and Charles’ clothing with that of the three Picassos.
4 Comment on Charles’ and Sami’s reactions to the Picassos, both on the street and at the
entry gate to their home. Refer to language, gestures and behaviour.
Part B
Malik
‘Vite on n’a pas le temps là!’
Charles
‘C’est bon. Ne me frappez pas. Je donne tout.’
Malik
‘Je ne vais pas te frapper tout de suite. Donne-moi ta ceinture!’
Imaginez que vous êtes un passant dans la rue et vous avez été témoin de ce racket. Vous
allez tout de suite au commissariat le plus proche pour dénoncer ces actions et pour déposer
une plainte.
Ecrivez l’interview avec l’agent de police. (à peu près 300 mots)
Imagine you are a passer-by and you have just witnessed this bullying incident. You go
straight to the closest police station to report it and make a formal complaint about what
took place.
Write the interview with the police officer. (about 300 words)
75/105
Extract 10: Djamila’s anger
124/INT NUIT/HOTEL PARTICULIER/SALLE DE BAIN DES ENFANTS
DJAMILA
Tu m’as fait Hachouma*. La honte de ma vie! Ça fait dix ans que je vis ici,
j’ai jamais eu d’ennui. Et toi, t’arrives et en un mois tu me pourris tout.
Je comprends pas, tu avais une chance incroyable en venant vivre ici et t’as
tout gâché! Et tu sais pourquoi t’as tout gâché? Parce que t’es qu’un petit
con.
Et c’est à cause de petits cons comme toi que les gens de chez nous se font
traiter de ‘sale arabe’!
Parce que c’est exactement ce que t’es: un sale arabe! Les mômes comme
toi, ça s’élève pas dans des maisons, ça s’élève dans des zoos!
Et puis t’as de la chance que la Hagouna† ai pas porté plainte.
Sami s’il te plaît, tu me regardes dans les yeux quand je te parle!!!
Le bateau de ta mère fait escale à la fin de la semaine, je vais lui téléphoner
et tu vas retourner vivre à Chalon avec elle.
Mat hachoumch‡. Tu sais ce que ça veut dire ça?
SAMI
Mais Wallah radhim§, Djamila …
DJAMILA
Rlass||, j’ veux plus t’entendre!
SAMI
C’est pas de ma faute!
* Hachouma: honte: shame
† Hagouna: cone/imbécile: stupid
‡ Mat hachoumch: j’éprouve de la honte: I am ashamed
§ Wallah radhim: par Hallah je te jure: In the name of Allah I swear to you
|| Rlass: ça suffit: that is enough.
76/105
Issues
The impact of
social class
By marrying Stanislas, Djamila became part of a social class that is usually out
of the reach of migrants (Arab or otherwise). She has kept her Algerian origins
suppressed in order to be accepted in Stanislas’ social circle but they
resurface when there is a threat to her status quo (e.g. ‘je vais régler ça à
l’algérienne).
She has had to conform to the standards of this social class, burrying her
origins in order to be accepted.
In this extract her cultural background re-emerges when she is angry and she
loses the polished varnish of sophistication (e.g. ‘tu me pourris tout!’)
She believes without a doubt that Sami is responsible for her loss of face and
social standing.
She is fully aware of the gap between her origins and where she finds herself
now. ‘Tu avais une chance incroyable en venant vivre ici.’
There is irony for Sami as this change of social milieu has not been so lucky for
him. On the contrary, he has encountered bullying, humiliation, intimidation
and now rejection by his aunt.
Issues of
tolerance
Djamila’s explanation of the reason why people of North African background
are called ‘sales Arabes’ emphasises the racism in French society.
At the hospital, Madame Lambert refused to shake her hand or speak to her.
Djamila feels that she will also be labelled as a ‘sale arabe’.
She is fully aware of the fragility of her social status in the haute bourgeoisie
of Neuilly. Despite her brilliant studies and career, and her status as Stan’s
wife, she knows she is merely tolerated.
The language Djamila uses is offensive, cruel, domineering and judgmental
and she reverts to stereotypes that she has tried so hard herself to deflect by
conforming. ‘C’est à cause de petits cons comme toi que les gens de chez nous
se font traiter de sales arabes! Parce que c’est exactement ce que t’es, un sale
arabe!’
She is outraged and refuses to listen to Sami, to his side of the story. She
believes the version of the incident put forward by others.
Madame Lambert’s refusal to shake her proffered hand incenses and hurts
her, yet she takes out her anger on Sami: he is an easier and more vulnerable
victim.
Relationships
Djamila and Sami both have to make sacrifices for the sake of ensuring
smooth relationships at home or in the community – the notion of fitting in.
The use of Arabic words by Djamila reinforces the fact that she and Sami
belong to the same family and social group. This unites them, yet separates
them from the rest of the family.
Note the cultural significance of the notion of shame or losing face: ‘tu m’as
fait hachouma, la honte de ma vie …’
For Sami, the relationship is definitely not a mother and son relationship. Not
once does Djamila try to protect, defend, listen to or comfort her nephew.
Nor does she allow him to provide an explanation.
She bullies him and she reacts towards him the same way as the bourgeoisie
would, believing after the first incident that he is ‘une racaille’ and ‘un sale
arabe’.
77/105
She promised her sister that she would treat him like her own son but she
does not. Sami has overstayed his welcome because he has threatened her
status and he is now an inconvenience.
Film techniques:




Point of view shot: Marie has become an incidental witness to
Djamila’s tirade, causing Sami heartache and humiliation.
Soundtrack: Harsh dialogue and Sami’s inability to respond.
Cross cutting: Djamila’s intimidating and dominating stance versus
Sami’s small stature.
Close-up: Sami’s crestfallen face reveals his sense of betrayal by his
aunt of their family background, his hurt at not being heard or
listened to and his awareness of their being overheard by Marie. Sami
feels shame.
Sample questions
Part A
1 Why is Djamila so profoundly angry?
2 Why does Djamila use many Arabic expressions when berating Sami?
3 What is the function of the point of view (POV) shot, showing Sami and Djamila framed by
the open window?
4 How does film technique reinforce Sami’s sense of utter defeat and inferiority?
5 ‘Ça fait dix ans que je suis ici, j’ai jamais eu d’ennuis … et toi, t’arrives et en un mois tu me
pourris tout! ... T’as tout gâché … C’est à cause de petits cons comme toi que les gens de
chez nous sont traités de ‘sales arabes. Parce que c’est exactement ce que t’es, un sale
arabe!’
How is the issue of the impact of social class explored in this extract and in the film as a
whole?
Part B
‘Parce que c’est exactement ce que t’es, un sale arabe!’
(On voit Marie devant son miroir qui écoute car Djamila parle fort! Elle est triste.)
‘Les mômes comme toi, ça s’élève pas dans les maisons, ça s’élève dans les zoos. Et puis t’as
de la chance que la maman de Guilain n’ait pas porté plainte. Sami, s’il te plaît, tu me
regardes dans les yeux quand je te parle!’
Tu es Marie. Après avoir entendu Djamila gronder sévèrement Sami tu décides d’écrire une
lettre à Djamila pour lui expliquer ce qui s’est passé pendant la soirée de la fête. Ecris la
lettre. (à peu près 300 mots)
You are Marie. After overhearing Djamila strongly chastise Sami you decide to write her a
letter to tell her what happened at the party. Write the letter. (about 300 words)
78/105
Extract 11: Sami reads Charles’ letter to the class
130/INT JOUR/SALLE DE CLASSE/SAINT-EXUPERY
Bon, eh bien nous allons procéder au vote …
SAMI
Attendez madame! Comme vous le savez, Charles est à
l'hôpital. Mais il m’a demandé de vous lire une lettre …
Je peux?
Venez Sami …
UN ELEVE
Mais, on s’en fout de sa lettre!
UN 2e ELEVE
Ouais c’est vrai ça, c’est un sale fayot* prétentieux!
UN 3e ELEVE
Ouais, il faut toujours qu’y soit premier de la classe.
Rien que pour ça je voterai jamais pour sa gueule!
Diane, s’il vous plait, surveillez votre langage, nous ne
sommes pas à l’école publique!
DIANE
Pardon Madame.
Allez-y mon petit chat.
SAMI
‘Mes chers camarades. Je viens de donner mon pouvoir à
Sami en lui demandant de voter pour Guilain’.
GUILAIN
Qu’est-ce que ça veut dire?
SAN PELLEGRINO
C’est quoi ce torpillage? On n’en veut pas de son vote!
Chut!
SAMI
‘Surtout, n’y voyez aucun calcul politique, car, pour
une fois, il n’y en a pas. Du fond de mon lit d’hôpital,
je viens tout simplement de réaliser que cette classe ne
m’aime pas.’
GUILAIN
Mais y a pas que la classe qui t’aime pas, y a toute
l’école aussi!
SAMI
‘Et comme je vous comprends. Oui, j’ai été un sale
type qui pensait que tout se vend et que tout s’achète,
même votre amour. Mais aujourd’hui, dans cette
chambre d’hôpital où personne ne me rend visite – à
part mon merveilleux cousin Sami – je reste seul,
terriblement seul. Mais cette épreuve aura été salutaire
pour moi. Elle aura su me faire grandir …’
79/105
GUILAIN
Il a pas besoin de grandir, il a déjà des talonnettes!
S’il vous plait!
SAMI
‘Elle aura su me faire grandir … Me faire comprendre
que je tiens plus à votre amitié qu’à vos votes. Voilà.
C’est peut- être mal dit, mais il fallait que je vous le
dise. Maintenant, sachez que si, à mon retour, certains
d’entre vous acceptent de me tendre une main
amicale, je ferai tout pour la saisir et vous prouver
qu’on peut changer, même quand on a passé quatorze
ans.’ Voilà …
* fayot: bootlicker
80/105
Issues
The impact of
social class
Acceptance and rejection.
Charles is his own spokesperson. The class rejects him because he is
pretentious and obsequious.
The students are unwilling to listen to the speech at the beginning and this
creates a double barrier to transfer the message.
Charles and Sami are both misfits in this class, despite Charles being from the
same milieu as the other students.
The teacher seems to be supportive and protective of Sami: ‘mon petit chat’.
It is possible that she comes from a lower social background than the
students. It seems she doesn’t dare to really confront them when they behave
unacceptably (‘On s’en fout de sa lettre, c’est quoi ce torpillage?’). She only
says ‘Chut!’. She is aware that the students and their parents wield a lot of
power.
The power of words: Sami uses the same persuasive language used by Sarkozy
and all politicians. It is the power of oration. Sami has mastered the language
of the haute bourgeoisie in order to manipulate them.
Sami uses the formality and sophistication that the students in this class can
relate to (e.g. ‘cette épreuve aura été salutaire, sachez que si … Il fallait que je
vous le dise, je ferai tout pour la saisir ... ’).
Issues of
tolerance
Acceptance and rejection: class/teacher/Sami and Charles/Guilain and friends.
Stereotypes and prejudice - private school vs. public school: ‘Diane, s’il vous
plait, surveillez votre langage nous ne sommes pas à l’école publique’. ‘Pardon
Madame!’
The lack of tolerance by the whole class towards Charles’ ‘letter’ is a parody of
the attitude of some factions of French society towards Nicolas Sarkozy (e.g.
talonnettes, sale fayot prétentieux, quelqu’un qui pense que tout se vend et
tout s’achète … and the compulsory study of the Lettre de Guy Môquet).
At the start of this extract the words Etablissement scolaire catholique et privé
are emblazoned on the school gate. In the classroom there is also the
presence of the Cross and the Virgin Mary.
Despite the fact that Sami is not of the Catholic faith, his actions epitomise
Christian ethos in contrast to the lack of tolerance shown by the students who
belong to the Catholic school. This highlights the intrinsic hypocrisy of the
establishment. They do not put into practice what they preach or stand for.
Relationships
Just before this scene, at the hospital, Charles confesses to Sami that he feels
like a loser. Sami is very touched by his confession and takes it upon himself
to salvage Charles’ relationship with the class.
Sami shows compassion towards Charles in giving the speech to the class,
supposedly on Charles’ behalf.
At this stage it is a one-sided relationship where Sami gives and Charles takes.
Even though Sami has been expelled from St Exupéry, this is a golden
opportunity to try and even the score with Guilain and his friends for the
many tricks they have played on him resulting in injustices (e.g. the scene at
the canteen where he was deceived into eating pork and also unjustly held
responsible for Guilain’s injuries at the party).
Sami manages to successfully change the class’ attitude and eventual
81/105
relationship towards Charles through the power of his words.
Sami is manipulative in the same way as Charles was manipulative when he
tried to buy his classmates’ friendship by hosting a party in order to be elected
as the class representative. However, Sami’s motives are different. He tells
the class that Charles has changed. The class, who detested Charles up to this
point, is moved. Sami shows how persuasive a heartfelt speech can be.
The cross cutting film technique shows the class at from wide angle and
allows us to see the change in the students’ reaction during Sami’s speech.
Sample questions
Part A
1 What subterfuge does Sami use to convince the class to vote for Charles?
2 Analyse the students’ changing reactions when Sami reads his letter.
3 ‘Diane, s’il vous plait, surveillez votre langage nous ne sommes pas à l’école publique’.
How does this relate to the issue of social class?
4 What does this scene reveal about Sami’s character?
5 ‘Vivre dans un bon quartier est-il toujours synonyme de bonheur?’ Base your analysis on
this scene and the film as a whole.
Part B
Sami
‘Surtout, n’y voyez aucun calcul politique, car, pour une fois, il n’y en a pas. Du
fond de mon lit d’hôpital, je viens tout simplement de réaliser que cette classe ne
m’aime pas.’
Guilain
‘Mais y a pas que la classe qui t’aime pas, y a toute l’école aussi!’
Tu es Diane. Après la lecture de la lettre de Charles, tu décides de voter pour lui. Tu expliques
à ta meilleure copine les raisons qui t’ont convaincue à voter pour Charles. Ecris le dialogue.
(à peu près 300 mots)
You are Diane. After listening to Charles’ letter, you decide to vote for him. You explain to
your best friend what convinced you to vote for Charles. Write the dialogue. (about 300
words)
82/105
Extract 12: Sami’s innocence
131/INT JOUR/BUREAU DE LA DIRECTRICE/SAINT-EXUPERY
LA DIRECTRICE
Entrez! Entrez Sami, entrez! Asseyez-vous. Je pense que
vous connaissez ces Messieurs? …
SAMI
Je les pas connais pas Madame. Je vous jure que je les
connais pas! Djamila je te jure que je les connais pas!
DJAMILA
Je sais.
LA DIRECTRICE
Ils viennent de vous innocenter. J’ai lu les SMS qu’ils ont
reçus de Guilain Lambert … Il va falloir que j’appelle sa
mère, à celui-là …
SAMI
J’comprends pas? …
DJAMILA
C’est vrai! Moi non plus, je ne comprends pas. Pourquoi
vous faites ça pour lui?
LE CHEF DES PICASSO
Ben … qu’on nous propose de l’oseille pour foutre le bordel
le souk, pardon ok, y’a pas de problème mais on veut pas
faire virer un p’tit! On est pas des bâtards quand même …
En plus, nous, on a tous arrêté l’école en 5ème! Lui par
exemple, sa mère, elle l’a jeté dehors comme une merde, et
depuis il dort dans le local à poubelle!
LE DEUXIEME PICASSO
Et moi, ma copine elle est partie avec mon chat et le type
des Assedic.
LE CHEF DES PICASSO
Moi, j’avais 18 ans quand j’ai arrêté l’école en 5ème D …
tout ça à cause du prof de techno Monsieur Gaudin,
meskin*. Et un matin il me dit: ‘Malik, soit tu travailles,
soit tu vas taper le fer à l’usine!’ et là … et là … je lui ai
tapé sa gueule†!
DEUXIEME PICASSO
Laisse tomber Malik, c’est passé maintenant …
LE CHEF DES PICASSO
Mais j’aime pas parler de ça, ça me fait mal.
* Meskin: mean
† tapé sa gueule: smashed his face
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Issues
The impact of
social class
Social class: Three separate groups are represented in this scene. They are the
Picassos, the gangsters from the cité; the principal of the Catholic private
school, representing the authority of the school; and Djamila and Sami, the
accused. The immediate impression is that of a courtroom. This is reinforced
by the fact that Sami has been summoned and he protests instinctively that
he is not guilty, ‘je vous jure je les connais pas’. The principal accepts the
Picassos’ version of events, based on the SMS she sighted from Guilain
Lambert. Without this support it is doubtful she would have given any
credibility to their story.
Film technique:

The initial wide angle of the principal’s office, cutting to Sami in front
of the principal’s door serves to reinforce the power structure.
 The framing of these three groups shows that, at this point, the office
looks like a courtroom with the principal sitting in judgment.
 The cutting from group to group allows the viewer to see the different
reactions, which reflect their points of view as well as their social
standing.
Acceptance/rejection: The Picassos have finally accepted Sami as one of their
own. They see Sami as the lucky one who has the chance of being educated in
this private school. They do not want to destroy his future, ‘on n’est pas des
bâtards quand même’. This unexpectedly shows their awareness of the value
of education as a means of improving one’s social standing. Their motivation
is not entirely noble, as they have been given an incentive from Marie. It is
only afterwards that they turn down her money.
Social inequality: The Picassos come from dysfunctional families and have
been expelled from school; therefore they have not finished their education.
They had a tough time making a living before resorting to the extortion of the
rich kids in Neuilly.
Issues of
tolerance
Stereotypes and prejudice.
There are very strong stereotypes and much prejudice against the gang
expressed in this extract. Previously, the Picassos have been depicted as a
violent street gang that terrorises the rich kids in Neuilly. Here they are
depicted in a softer light. They paint themselves as victims of society, rejected
by their respective families, ostracised from school and discarded by loved
ones. They look meek and humble, suffering from their past pains and other
social injustices, comforting each other rather melodramatically. This adds to
the parody and humour in this scene. However, they are still a strong support
to each other.
Even Djamila has stereotyped the Picassos, expressing her scepticism of their
motives, ‘Pourquoi vous faites ça pour lui?’.
Later we discover that they are also capable of grand gestures. They have
denounced the false accusations without any financial gain to themselves, in
order to clear Sami’s name and his reputation.
Relationships
School: The Picassos are in the principal’s office because they were witness to
a serious incident caused by one of the students. They are out of their normal
comfort zone (the street). However, they try to adjust their behaviour and
language to their new surroundings. They sit together and speak as politely as
they can to the principal, who addresses them as ‘ces messieurs’.
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They show their soft side (crying about their past and over the injustices they
have been submitted to, and they comfort each other) in contrast to their
normal vulgar and threatening behaviour on the street when they tried to rob
Charles and Sami or when they met with Guilain and his friends after the
party.
Tone/pitch/silence: The principal uses words such as ‘innocenter’, to convey
her authority. The Picassos control their language in order not to offend the
principal. Djamila and Sami stay virtually silent and act as witnesses to the
unfolding drama.
Family: Djamila feels embarrassed and contrite when she realises that she has
condemned her nephew too hastily. Meekly she touches his hand and asks for
his forgiveness. She even looks at him with pride when she realises that he is
innocent of any thuggish behaviour.
Community: The Picassos demonstrate a strong sense of justice for the
community. They have learnt that Sami has been falsely accused by Guilain
and want to right that wrong because they themselves have been victims of
wrongdoings in the past (they were expelled from school and were deprived
of any chance of success). They show compassion and support for one
another as they recount their stories.
Sample questions
Part A
1 How do the setting and film techniques in this scene reinforce the idea that Sami is in
trouble?
2 Analyse the behaviour of the Picassos.
3 Compare how Djamila, Sami and the headmistress react to what the Picassos reveal.
Refer to language, gestures and behaviour.
4 ‘On n’est pas des bâtards quand même!’
How are the Picassos’ socio-political and ethical views reflected in this scene?
5 How is the issue of social integration dealt with in this extract?
Part B
La directrice
‘Sami, entrez!’ ‘Asseyez-vous. Je pense que vous connaissez ces messieurs?’
Sami
‘Je les connais pas, Madame, je vous jure que je les connais pas! Djamila je te
jure que je les connais pas!’
La directrice
‘Ils viennent de vous innocenter. J‘ai lu les sms qu’ils ont reçus de Guilain
Lambert!’
Le soir, chez les De Chazelle, Djamila organise un repas spécial pour fêter l’innocence de
Sami. Devant toute la famille elle fait ses excuses à Sami. Ecrivez son discours. (à peu près
300 mots)
That the evening at the De Chazelles’, Djamila organises a special meal to celebrate Sami’s
innocence. In front of the whole family she apologises to Sami. Write the text of her speech.
(about 300 words)
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Sample speaking and writing tasks
1 Jusqu’à quel point est-il possible pour les immigrants de préserver leurs traditions et leurs
valeurs dans un pays adoptif? Discutez.
To what extent is it possible for immigrants to keep their traditions and values in their
new country? Discuss.
2 La voix du sang est la plus forte. Sans famille on serait perdu. Discutez.
Blood is thicker than water. Without family we would be lost. Discuss.
3 La famille n’a plus la même importance qu’avant. Qu’en pensez-vous?
Nowadays family has less importance than in the past. Do you agree?
4 Il ne faut pas se définir en fonction de son apparence physique. Etes-vous d’accord?
Your physical appearance shouldn’t define you. Do you agree?
5 Écrivez une lettre au rédacteur d’un journal sur le sujet suivant: L’école est accessible au
même niveau pour tous les élèves. Etes-vous d’accord?
Write a letter to the editor of a newspaper on the following topic: School is accessible at
the same level for all students. Do you agree?
6 Le succès scolaire garantit le succès dans la vie. Discutez.
Success in school translates into success in life. Discuss.
7 Les jeunes sont aussi intolérants que les adultes. Etes-vous d’accord?
Young people are as intolerant as adults. Do you agree?
8 Écrivez un article pour le journal d’école sur le sujet suivant: L’école est un endroit qui
accueillit tout le monde et où tout le monde se sent valorisé. Êtes-vous d’accord?
Write a letter for the school newspaper on the following topic: School is a place that
welcomes all comers and where everyone feels valued. Do you agree?
9 Vous participez à un concours d’expression écrite organisé par un magazine français sur le
sujet suivant: L’Australie est une société pluriculturelle, pluriethnique et plurireligieuse où
tout le monde cohabite en harmonie. Ecrivez votre article.
You take part in a writing competition held by a French magazine on the following
subject: Australia is a multi-cultural society where everybody lives harmoniously. Write
the article that you are going to submit.
10 Peut-on encore parler de classes sociales dans la société moderne? Ecrivez votre discours.
Can we still talk about social classes in modern society? Write your speech for a debate.
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Expressions imagées, argotiques et en verlan
Expression
Explanation
From
Déchire-le!
Bats-le à plate couture (massacre-le est aussi
utilisé) ici pour un match de ping pong
Argot des cités
Rebeu
Verlan pour Beur: Arabe né en France. Nom
de toutes les générations successives issues
de l’immigration d’Afrique du Nord mais nées
en France
Verlan
Vos gueules!
Pluriel de ‘ta gueule’ (Shut up!)
Argot français traditionnel
C’est un cancer!
Une maladie qui ne vous lâche plus
Langue des cités
Bac + 4
Nombre d’années d’études après le bac
Français courant
Bac moins 6
Par opposition, nombre d’années où on a
arrêté l’école avant le bac
Français courant
Je la kiffe
tellement
Normalement: elle me plait; ici: je l’admire
tellement
Argot des étudiants
Assez récent
Le bled
Un village d’Algérie
Mot français d’origine arabe
Je vais me faire
déchirer
Je vais me faire massacrer/battre
Argot/expression imagée des
cités
Le baltringue
Un incompétent, un incapable
Langue des cités
C’est ta mère qui …
Insulte
Voir note
Sur la tête de ma
mère!
(Je le jure sur la tête de ma mère)
Expression des beurs/cités
Mortelle la déco!
Terrible la décoration de la chambre - ça
craint!
Language des étudiants
morfler
souffrir
Argot français
Se prendre un
rateau
Se faire remballer; se faire éconduire quand
on cherche à draguer une jeune fille
Argot français (expression
imagée)
On les appelle les
pistons
Expression: se faire pistonner = obtenir des
passe-droit/des autorisations spéciales
(comme le fait de redoubler quand c’est
interdit dans le règlement)
Expression familière
Un fayot
Quelqu’un qui ‘fayotte’ qui cherche à être le
chouchou du professeur (et qui n’hésite pas à
faire de la délation pour être bien vu)
Langage des lycéens
Une baston
Une bagarre
Argot traditionnel
Une balance
Un délateur/quelqu’un qui dénonce les
coupables auprès des flics
Argot traditionnel
Bouffon!
Personne qu’on ne peut pas prendre au
sérieux (le bouffon du roi au Moyen Age
servait à divertir le Roi, comme un clown)
Argot des banlieues récent
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Réac
Réactionnaire/anti progrès
Argot des années 60
Le bahut
Le lycée
Language familier
Rouler une pelle
embrasser
Argot traditionnel
Macquée
Littéralement pour une prostituée qui a un
souteneur (un mac). Maintenant signifie une
fille qui sort avec un garçon: Elle est macquée
= elle a un petit ami
Language des ados
Une meuf
Une femme
Verlan
Je t’explose la tête
= Je te fais exploser la tête à force de coups
Argot
Si tu te bas comme
tu rapes
Insulte (tu es tellement mauvais en rap, tu es
probablement aussi mauvais pour te battre
Expression imagée
foutre le souk
(il s’arrête en plein milieu de foutre le bordel)
= mettre la pagaille
Argot
Pouf/poufiasse
Connard/connasse
Femme méprisable
Argot traditionnel
chialer
pleurer
Argot traditionnel
Racaille
Délinquant juvénil
Référence à Sarkosy qui a traité
les délinquants des cités de
‘racaille et voyous‘ en 2005
Sigles:
ZEP
Zone d’enseignement prioritaire
ZUP
Zone à urbaniser en priorité
DASS
Direction des affaires sanitaires et sociales
(pour les enfants abandonnés par leurs
parents par exemple)
SDF
Sans domicile fixe
Les ASSEDIC
Association pour l’emploi dans l’industrie et le
commerce = Pole emploi
Bobo
Bourgeois bohème
Récent
Bourgeois à tendance un peu hippies (boho)
Bolo/bolos
Se dit d’une personne d’apparence faible et
sans défense que l'on peut facilement voler,
dupe: ‘Vise le p'tit blond à lunettes qui
s'ramène au bahut avec son portable! Il a trop
une tête de bolo’
Personne peu sérieuse, fumiste. Syn. de
bouffon
étym. L'étymologie de ce terme
demeure mystérieuse. Le
linguiste Jean-Pierre Goudaillier
donne une étymologie possible:
‘Bolo: verlan. Déformation de
lobotomisé (en tant qu'insulte):
lobotomisé(s) → lobo(s) (lobos
→ bolos (verlan)
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Langue des cités
Un bâtard (‘je suis
pas un bâtard
moi’) Picasso
Terme d'injure désignant un individu sans
scrupule
Détourné du sens original
Elle est mimi
Elle est mignonne
Feuj
Juif
Verlan
Marave
Battus/on les a bien eus
Emprunté au Romani
Further reading:

Dictionnaire d’argot: www.les-dictionnaires.com/argot.html

Dictionnaire de la langue des cités: http://www.dictionnairedelazone.fr
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Cultural references in the film
Extract 1
La main de Fatima
The hamsa (meaning ‘five’) is a palm-shaped amulet commonly used in jewellery and wall
hangings throughout Africa. It depicts the open right hand, and it is believed to shield the
one who wears or display it against the evil eye.
Extract 2
Le Bois de Boulogne
Charles: ‘J’ai couru jusqu’au Bois de Boulogne.’
A large public park located along the western edge of the 16th Arrondissement of Paris, near
the suburbs of Boulogne-Billancourt and Neuilly-Sur-Seine. It was created in 1852. This is
where Nicolas Sarkozy jogs every morning.
La racaille
Charles: ‘Tu es une racaille de banlieue ... survêtement à capuche ... je te nique ta ... 29
voitures brûlées etc.’
In Paris in 2005 Nicolas Sarkozy, then Minister of the Interior, referred to the criminal youth
of the housing projects as voyous (thugs) and racaille (rabble/scum/riff-raff), a slang term.
The famous riots began two days later. Following his use of the word racaille many people in
the banlieues identified Sarkozy as a politician of the far right. As Minister of the Interior he
allowed special police troops to be used in the banlieues, and a police ‘raid’ on the suburb of
Clichy-sous-Bois in October 2005 led to two boys being electrocuted in a power sub-station.
The riots began that night.
Les cités
Les banlieues are translated as ‘suburbs‘, as these are also residential areas on the outer
edge of a city, but the connotations of the term ‘banlieue’ in France can be different from
those in English-speaking countries. In France, banlieues are more frequently areas of lowincome apartments and social housing. Thus, the equivalent of most housing in the
banlieues would be a ‘council estate’ or housing commission (HLM in French = Habitation à
loyer modéré). Since the 1970s and 1980s, the phrase les banlieues has been increasingly
used as a euphemism to describe low-income housing projects (cités) in which mainly French
of foreign descent or foreign immigrants reside, especially around Paris, but also in some of
the other large cities in France.
Banlieues may be rich, middle-class or poor; Neuilly-sur-Seine is an affluent banlieue of Paris,
a ‘banlieue aisée’ while ‘Châlon’ in the movie is a poor one, a ‘banlieue défavorisée’, ‘dite’
difficile.
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Petty crime has increased in France since the 1980s, and much of it is blamed on juvenile
delinquency within the banlieues. As a result, these banlieues are perceived to have become
unsafe places to live, and the youth from these places create civil unrest.
Sarkozy was Minister of the Interior in 2005 when the riots took place. He promised the
French that he would ‘get rid of the racaille’ (rabble/scum/riff-raff), clean up the banlieues
and put an end to the violence: ‘Vous en avez assez de cette racaille? On va vous en
débarrasser’. (See: http://en.wikipedia.org/wiki/2005_civil_unrest_in_France)
1981 riots
During July and August 1981 and again in 2005, cars were stolen, vandalised and set on fire.
Shortly after this incident, groups began to demonstrate in public in 1983–1984 to publicise
the problems of the Beurs (verlan slang [see below] for second-generation Arabs born in
France) and immigrants in France. In doing so, these Arabs (specifically Algerians,
Moroccans, Tunisians and Berbers) in France began to develop a stronger French-Arab
identity, unified by the problems that had been imposed on them economically and
politically. Their banlieues became a unifying point for the marginalised immigrants of
France.
Hôtel particulier
A free standing grand family residence passed down through generations, originally from a
noble family.
Extract 3
Immigration and integration
See:

http://www.vie-publique.fr/politiques-publiques/politique-immigration/immigrescite/

http://www.vie-publique.fr/actualite/alaune/identite-nationale-valeursrepublique-integration.html
Who are ‘les Beurs’ in France?
The Beurs are children of North African immigrants who were born in France or who have
spent most of their life in France. The term Beur means Arab and is an example of a form of
slang known as le verlan. Le verlan is based on inversion of the letters of a word or of its
syllables (e.g. lanver = à l’envers).
See: http://campus.murraystate.edu/academic/faculty/tsaintpaul/beur.htm
(Related text: Le thé au Harem d’Archimède by Mehdi Charef.)
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Les évolutions du droit de la nationalité
Selon l’ordonnance du 19 octobre 1945, modifiée par la loi de 1973, la nationalité française
se transmet par la filiation paternelle ou maternelle, légitime ou naturelle; elle résulte aussi
de la naissance en France, dès la naissance lorsqu’un des parents est lui-même né en France,
à la majorité dans le cas contraire. See: http://www.vie-publique.fr/politiquespubliques/politique-immigration/acquisition-nationalite-francaise/
Extract 4
Nicolas Sarkozy: A timeline
1983–2002
Mayor of Neuilly-Sur-Seine (one of the wealthiest communes of
France, located 6.8 km from the centre of Paris)
May 2002–March 2004
Minister of the Interior
March 2004–May 2007
Leader of UMP
March 2004–November 2004
Minister of Finances
2005–2007
Minister of the Interior
May 2007–May 2012
Serves as 23rd President of France
February 2008
Marries Italian-French singer-songwriter Carla Bruni (his third
wife)
May 2012
Defeated by Socialist François Hollande
UMP
L’Union pour un mouvement populaire (UMP) is a French political party of the right and the
centre right. See: https://en.wikipedia.org/wiki/Union_for_a_Popular_Movement
Sarkozy: ‘La France, tu l'aimes ou tu la quittes’
(Reference in the film: Charles: ‘Ma chambre, tu l’aimes ou tu la quittes’)
12 mars 2012, DÉTECTEUR DE MENSONGES, Lors de l'émission Parole de candidat sur TF1
lundi soir, Nicolas Sarkozy a été accusé par un entrepreneur de Villiers-le-Bel d'avoir ‘un
discours réchauffé’ sur la banlieue. ‘Vous dites souvent 'la France, tu l'aimes ou tu la quittes’,
a-t-il lancé au président-candidat, qui a assuré qu'il n'avait jamais dit ça. Pas exactement!
http://www.lejdd.fr/Election-presidentielle-2012/Actualite/La-France-tu-l-aimes-ou-tu-laquittes-Sarkozy-oublie-vite-detecteur-de-mensonges-493908
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Charles’ bedroom
The photos and posters in Charles’ bedroom reveal a lot about him and his right-wing
tendencies.
Rachida Dati is a French politician and Member of the European Parliament, representing
Île-de-France. She is a member of the UMP. She is a high-achieving Beurette, therefore
breaking the stereotypes. Half of Sarkozy’s cabinet was made up of women in an attempt
to redress the gender imbalance in Parliament and achieve parity. In 2013 she
campaigned to become Mayor of Paris. She also returned to work the day after giving
birth to her son. She is a single mother who refused to reveal the identity of the father of
her child (Ref. film: ‘les fils cachés de Carla Bruni … ’ which refers to le fils caché de
Rachida Dati in Extract 9). She comes from Châlon sur Sâone (Ref. Châlon in the film).
Nicolas Sarkozy nominated many women to his cabinet in 2007. Les femmes ministres de
Sarkozy, 2007.
George W. Bush was the 43rd President of the United States of America between 2001
and 2009. He is a member of the Republican Party, whose platform is generally based
upon American conservatism.
Jacques Chirac was President of France from 1995 to 2007. He served as Prime Minister
of France from 1974 to 1976 and from 1986 to 1988, and as Mayor of Paris from 1977 to
1995. He is a member of the UMP.
Silvio Berlusconi is a media tycoon who served as Prime Minister of Italy three times. He
is a member of the PDL party (the People of Freedom), a centre-right party.
Napoleon Bonaparte (1769–1821) was a French military and political leader. As Napoleon
I, he was Emperor of France from 1804 to 1815.
Carla Bruni is an Italian-French singer, songwriter and former model. She married Nicolas
Sarkozy in 2008. It was her first marriage. They have a daughter, Giulia Sarkozy, born in
2011. Carla has a son, Aurélien, born in 2001, from a previous relationship. Carla has
produced a number of albums. Her song Quelqu’un m’a dit was produced in 2003. This is
the song being played when Sami is shown Charles’ room in Extract 4.
Quelqu’un m’a dit
See: http://lyricstranslate.com/en/Carla-Bruni-Quelqu%E2%80%99un-M%E2%80%99-Ditlyrics.html
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Extract 5
L’éducation en France: publique ou privée, les chiffres
Nombre d’écoles, de collèges et de lycées: 65 173, dont 56 404 établissements publics.
Effectifs: l’enseignement privé comptait: 2 034 010 élèves en 2011–2012, soit 17% des
effectifs, accueillis dans 8300 établissements.
Implantation: l’enseignement privé catholique représente moins de 13% des effectifs dans le
primaire contre 20% dans le secondaire.
Source: http://www.capital.fr/enquetes/dossiers/public-prive-qui-est-le-meilleur701035/enseignement-l-ecole-libre-rafle-la-mise-grace-a-la-selection
‘Etudier plus pour réussir plus’
The school’s motto is also seen on Charles’ bedroom door. The principal repeats this to Sami
on his first day at school: ‘Ici on étudie plus pour réussir plus ... ’
The original version is: ‘Travailler plus pour gagner plus’. This was Sarkozy’s slogan during his
presidential campaign in 2007. He attacked the workers’ 35 hour week, which was adopted
by the previous socialist government in February 2000. One of Sarkozy’s main arguments
was that France couldn’t function on a world scale economically under this system. This
policy caused a lot of opposition from unions such as the Conférération Générale du Travail
(CGT). ‘Il faut laisser les gens travailler plus, pour gagner plus, c’est mon programme ... ’ ‘On
ne dira jamais assez le mal que les 35 heures ont fait à notre pays. Comme peut-on avoir
cette idée folle de croire que c’est en travaillant moins que l’on va produire plus de richesse et
créer des emplois ... ’ See: http://www.monde-diplomatique.fr/2007/04/HUSSON/14581
St Exupéry et le renard
Sami va découvrir un autre monde (aussi différent du sien que le Petit Prince du sien). Il a la
responsabilité de faire découvrir à ceux de Neuilly qui sont les ‘autres’ qui vivent dans les
cités. C’est au terme de cette histoire que Charles et Sami vont enfin se lier d’amitié et
‘s’apprivoiser’, tout comme Sami et Marie.
Quelques citations:
‘On ne voit bien qu'avec le cœur. L'essentiel est invisible pour les yeux.’
‘Tu deviens responsable pour toujours de ce que tu as apprivoisé.’
‘C'est le temps que tu as perdu pour ta rose qui fait ta rose si importante.’
‘Droit devant soi on ne peut pas aller bien loin.’
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Comprendre Le Petit Prince
‘L’essentiel est invisible pour les yeux’, dit le renard. Le petit prince répète la phrase pour s’en
souvenir, un moyen, pour l’auteur, de nous indiquer son importance pour la compréhension
de l’histoire’.
L’auteur le fait déjà en commençant son texte avec les dessins de serpent boa ‘ouvert’ et puis
‘fermé’, susceptibles de nous indiquer que chaque chose, chaque être cache un trésor, un
mystère que nous devons percer. Au-delà des apparences, il y a l’esprit qu’il faut découvrir
avec le cœur. Read the online version at: http://gutenberg.net.au/ebooks03/0300771h.html
La lettre de Guy Môquet
Guy Môquet was a 17 year old young Resistance fighter. He was arrested by the Germans
and wrote this letter to his family the night before he was executed. The reading of his letter
was made compulsory in French schools by Nicolas Sarkozy in 2007.
See: http://www.rtl.fr/actualites/article/la-lettre-de-guy-moquet-sera-bien-lue-a-tous-leslyceens-5929163124
Full content of the letter: http://www.chateaubriant.org/522-livre-la-lettre-de-guy-moquetles
Sarkozy made the reading of the letter compulsory in all schools.
http://www.youtube.com/watch?v=kdVmEoOTjko
More resources on this site: http://education.francetv.fr/site-thematique/guy-moqueto17648
This imposition from the president divided teachers throughout France. See:
http://www.lemonde.fr/societe/article/2007/10/19/la-lecture-de-la-lettre-de-guy-Môquetdivise-les-enseignants_968843_3224.html
Extract 6
Monoprix
Monoprix is a major French retail chain. Monoprix stores are supermarkets but also sell
clothing, beauty products and household items. Monoprix stores are present in
approximately 85% of French cities. There is no real equivalent in Australia.
Between Extracts 6 and 7
Mocassins à glands
The son of the Ambassador of Gabon refuses to befriend Sami because he is wearing
mocassins à glands. ‘Je peux pas être copain avec un type qui porte des mocassins à glands!
Enfin, voyons!’
Quickly, Sami cuts off the tassels from his shoes. This type of shoe was Sarkozy’s favourite
footwear. He once said that they reminded him of his school days. However, these shoes
have been perceived as trendy for right-wing people.
95/105
As Charles leaves school
‘Casse-toi, pauv’ con.’ A driver yells this insult to Charles when he crosses the street in front
of the school without looking at the oncoming traffic.
In February 2007, Sarkozy was filmed by a reporter from a French newspaper, le Parisien,
while visiting the Paris Agricultural show. In the middle of the crowd, Sarkozy encounters a
visitor who refuses to shake his hand. The man yells: ‘Ah no don’t touch me, you’ll make me
dirty’ (‘Ah non, ne me touche pas. Tu me salis.’). With a frozen smile, Sarkozy retorts: ‘Get
lost then, you prat, get lost!’ (Casse-toi, alors, pauvre con, va!’). This exchange has been
cause for much humour and debate regarding its propriety in the French press.
Extract 7
Cutting the lettuce with a knife
Stan screams at Sami, when he sees Sami cutting his salad with his knife: ‘Ne fais jamais
ça!!!!’. Sami looks totally shocked: ‘Qu’est-ce que j’ai fait Monsieur?’.
According to bourgeois dining etiquette, one should not cut the salad leaves with a knife.
The leaves should be folded. Stan’s mother used to smack his hand with the silver cutlery
when he did this as a child. It is considered bad manners. It is because the silver reacts with
the dressing and causes oxidation of the knife.
Les bobos
Contraction de ‘bourgeois-bohème’, le terme ‘bobo’ désigne de manière plutôt péjorative une
catégorie socioprofessionnelle de personnes aisées qui habitent les grands centres urbains et
se situent politiquement plutôt à gauche.

Chanson de Renaud ‘Les Bobos’: http://www.paroles-musique.com/parolesRenaud-Les_Bobos-lyrics,p19497

The Guardian:
http://www.guardian.co.uk/theobserver/2000/may/28/focus.news1

Quelques caractéristiques de la catégorie du ‘bourgeois-bohème’:
http://www.toupie.org/Dictionnaire/Bobo.htm
Caroline is an example of a bobo in the film. Hence Charles’ remark: ‘Mais retourne manger
tes graines de soja avec tes SDF* espèce de Bobo connasse!’. Caroline wants to help the
immigrants and people less fortunate than herself. She is aware of their needs and is in
constant conflict with her father who is a symbol of industrial management.
*SDF = les sans domicile fixe (homeless)
See:

Resto du cœur: http://www.restosducoeur.org/

http://www.youtube.com/watch?v=xnp-wM9kzM8

http://www.rmc.fr/editorial/242291/de-plus-en-plus-de-pauvres-en-france

http://inegalimentaires.canalblog.com/archives/2010/05/08/17830456.html
96/105
Kärcher
Charles: ‘La solution à tout ça, un bon coup de Kärcher’.
Kärcher is a well-known German brand of high-pressure water cleaning system. Sarkozy was
accused of having provoked the unrest in 2005 by calling young delinquents from housing
projects ‘scum’ (‘racaille‘) in the Argenteuil housing estate near Paris, and controversially
suggested cleansing the minority suburbs with a Kärcher.
L’absence de télé chez les De Chazelle (Scène après le diner entre extraits 7 and 8)
C’est une sorte de snobisme. La télé est jugée dégradante. C’est une sorte de refus, de
résistance au phénomène de masse et un snobisme culturel. On n’apprend rien à la TV, donc
il vaut mieux vivre sans. Les soirées sont consacrées à la lecture.
Le nouvel Observateur: http://leplus.nouvelobs.com/contribution/541477-non-il-n-y-a-pasque-les-bobos-qui-vivent-sans-tv.html
Extract 8
Catholic schools
Sami and Charles attend the Lycée Saint Exupéry, a Catholic school in Neuilly. (In fact, the
film was made at the Lycée Pasteur in Neuilly sur-Seine, a highly prestigious school.)
Religious symbols in the school
There are crucifixes, pictures of Christ and Mary, portraits of the Pope and statues of the
Virgin Mary in all of the classrooms, as well as the dining hall and the principal’s office. We
also see posters of Catholic World Youth Day. There is a small chapel with a priest, le père
Dinaro, who performs masses and hears confessions from students.
Extract 9 (refer to Extract 2)
Just before Extract 11
Charles: ‘Je suis un loser, je suis Balladur!’
Édouard Balladur is a French politician who served as Prime Minister of France from 29
March 1993 to 10 May 1995. When Charles is in hospital and thinks that he will never win
the role of delegate for the class at the class election, he refers to himself as a loser: ‘Je suis
un loser je suis Balladur’. He feels that he is just like Balladur. After all, he has tried several
times but he keeps losing his chance at being elected just as Balladur did in 1998, 2001 and
2002. (See: http://www.nytimes.com/1995/04/21/world/in-presidential-bout-gaullist-rivalstake-off-the-gloves.html)
97/105
Extract 11
La lettre de Guy Môquet
Refer to Extract 5 for the full content of the letter.
Guilain: ‘Il a pas besoin de grandir, il a déjà des talonnettes!’
This is in reference to a photo of Sarkozy and Carla Bruni that appeared in the English
newspaper, The Daily Mail, in 2008. The president and his wife had just left the plane upon
arriving in the UK and the photo shows Carla Bruni, who is taller than her husband, in flat
shoes, and Sarkozy in 5 cm heels. The photo caption read: ‘Carla’s in flats but the diminutive
President has his heels on to give him a bit of extra height’.
Extract 12
La langue des cités
Les jeunes s’inventent leur propre identité, largement influencée par la culture américaine,
qui est musicale: hip-hop, rap; artistique; le tag (graffiti); vestimentaire avec le tee-shirt, le
jogging, les baskets et la casquette mise à l’envers; les bijoux et boucles d’oreille; et orale
avec un langage qui leur est propre. La langue, pour ces jeunes des cités, est un des moyens
pour exprimer la haine, pour crier l’injustice et l’intolérance exercées sur eux, pour se révolter
contre l’exclusion de la société par un langage lui-même exclusif.
Ref.’La haine’, un film de Matthieu Kassovitz: http://en.wikipedia.org/wiki/La_Haine
C’est un mélange de verlan, on parle à l’envers, on intervertit les syllabes (téci = cité, caillera
= racaille, meuf = femme, keuf = flics), d’injures (nique ta mère ... ) d’hyperboles (je vais te
déchirer) et d’argot, qui est crypté, difficile à comprendre, et donc permet aux jeunes des
cités d’exclure les bourgeois, les autres car ils ne peuvent pas comprendre cette langue des
cités.
Ref: Daniel Pennac, ‘Chagrin d’école’: http://archive.org/stream/PennacDanielChagrinDecole/pennac_daniel_chagrin_decole#page/n1/mode/2up
Listening and reading texts
‘Je viens de là’ de Grand corps malade
Listen and read the words to this song online:

http://www.youtube.com/watch?v=8LXaSFgVxGs

http://www.lyricsmode.com/lyrics/g/grand_corps_malade/je_viens_de_l.html

http://www.greatsong.net/PAROLES-FAF-LARAGE,NEUILLY-SA-MERE,171175.html
98/105
Some vocabulary to help you understand this song:
des psy
psychologists
le pied de biche
claw
ça déchire
c’est excellent
les potos
les amis
chouf les pitbulls nourris au red
bull
honte aux pitbulls de la racaille qui les
surexcitent
les fachos
fascists
nardine
stands for nique ta mère
des blindés
les riches
des rallyes
car races
le quick
fast food restaurant
le Pommery
name of a champagne house
la France on est quitte
we don’t owe anything
Zinédine Zidane
(At the start of the film and references throughout the film.)
Zinédine Zidane was born in 1972 in Marseille in the south of France. His nickname is Zizou.
He is a famous international football player. http://en.wikipedia.org/wiki/Zinedine_Zidane)
99/105
Related texts
The impact of social class
La galère ordinaire
Marcher, marcher, marcher. Des heures que je marche. La nuit avance et le froid mord plus
fort. S'arrêter, c'est grelotter. Il faut marcher … À Bordeaux, sur un pas de porte, […], sur un
banc, ils dorment, nombreux, sur le pavé glacé, sous la protection dérisoire de couvertures
pourries ou d'un mauvais carton. Le peuple d'en bas, […], juste sous nos fenêtres.
Bordeaux·grands reportages: http://www.sudouest.fr/2012/02/08/la-galere-ordinaire627739-2780.php)
Read the text and answer the questions
Un collège anglais propose des leçons de bonheur
Un des plus grands collèges privés anglais va proposer aux élèves des leçons de bonheur. Il
veut ainsi combattre les difficultés que rencontrent les jeunes d'aujourd'hui dans une société
de plus en plus matérielle. See:
http://sv2.pragmacom.be/~arcadesr/ia/1882244931444c87db2f5e6/index.html
Read the text and answer the question
Bullying ou harcèlement: ‘Un groupe a été créé contre moi’.
Lire l’article en ligne: http://www.vosquestionsdeparents.fr/ dossier/837/dangers-defacebook-comment-se-proteger/page/4
Sample writing task
Effectuez la tâche suivante. Incluez tous les détails pertinents en vous basant uniquement sur
le texte ci-dessus. Écrivez au moins 300 mots. Ne recopiez pas de longs extraits du texte.
Vous êtes chargé de la communication électronique dans votre école. Vous décidez de vous
servir de cet article pour écrire une lettre d’information adressée aux parents des élèves.
You are in charge of the electronic media at school. You decide to write a letter (about 300
words in French) to the students and the parents at your school, telling them about the
dangers associated with the electronic media. Use only the information in the text online.
100/105
France: Les enfants et les ados premières victimes de la pauvreté
En France, 4.5 millions de personnes sont pauvres. Selon l’observatoire des inégalités, la
population pauvre est d’abord jeune et peu qualifiée. Par ailleurs, le risque de pauvreté est
très inégal selon les populations.
La pauvreté touche en premier lieu les enfants, les adolescents et les jeunes adultes dont plus
d’un sur dix sont pauvres. (Source: Observatoire des inégalités)
Source: http://actu-droitsenfant.over-blog.com/article-france-les-enfants-et-les-adospremieres-victimes-de-la-pauvrete-105315318.html
Exercise 1
France: Les enfants et les ados premières victimes de la pauvreté
Quel mot du premier paragraphe signifie:
1 D’après: ……………………………………………………………………………………
2 D’autre part: …………………………………………………………………………….
Les affirmations suivantes, basées sur les lignes de 10 à 17, sont soit vraies, soit fausses.
Cochez [] la réponse correcte. Justifiez votre réponse par les mots du texte.
3 10% d’enfants en France vivent dans la pauvreté. ( Vrai ou  faux?)
Justification: …………………………………………………………………………
……………………………………………………………………………………….......
4 Les enfants et les jeunes représentent un peu plus de 30% de la population pauvre.
( Vrai ou  faux?)
Justification: …………………………………………………………………………
………………………………………………………………………………………........
5 Les enfants pauvres souffrent de solitude. ( Vrai ou  faux?)
Justification: ……………………………………………………………………………
……………………………………………………………………………………….........
En vous basant sur les lignes de 19 à 27, reliez chacun des mots du texte figurant dans la
colonne de gauche à son équivalent dans la colonne de droite. Attention: il y a plus de mots
dans la colonne de droite que dans celle de gauche.
A. genre
1. Pauvreté
B. responsables
2. représentent
C. précarité
3. à la tête
D. devant
4. type
E. saleté
5. taux
F. constituent
6. moyenne
G. norme
H. niveau
101/105
Exercise 2
Ajoutez les mots qui manquent aux lignes 29 à 40 en les choisissant dans la liste proposée cidessous. Attention: il y a plus de mots que d’espaces et chaque mot ne peut être utilisé
qu’une seule fois.
enfin – sans – dont – que – qui – fois – aucun – temps
…………………………………………….
…………………………………………….
…………………………………………….
…………………………………………….
…………………………………………….
…………………………………………….
…………………………………………….
Les 10 chiffres chocs sur la pauvreté en France
La conférence nationale de lutte contre la pauvreté s'ouvre ce lundi 10 décembre. Elle doit
aboutir à un plan de lutte contre les exclusions. Le point en chiffres sur l'ampleur du
phénomène.
La conférence nationale de lutte contre la pauvreté et les exclusions sociales s'ouvre ce lundi
10 décembre. Elle dure deux jours et doit aboutir à un ‘plan quinquennal’ de lutte contre les
exclusions. Un Français sur deux se considère aujourd'hui comme pauvre ou en passe de le
devenir, selon un sondage publié la semaine dernière. Dix chiffres qui illustrent l'ampleur du
phénomène. http://lexpansion.lexpress.fr/economie/les-10-chiffres-chocs-sur-la-pauvreteen-france_364016.html
102/105
School, relationships, tolerance
‘Une vidéo sur Facebook m’a collé la honte au lycée’
Un après-midi de rigolade entre copines
C'est l'été. Fanny, Émilie et Ilona profitent des dernières heures du week-end dans le jardin
des parents d'Émilie. Elles rigolent comme des folles, occupées à monter l'un de ces sketches
impertinents et décalés dont elles ont le secret. Celui du jour est particulièrement drôle et
créatif. Pour l'immortaliser, les trois amies décident de le filmer.
http://www.vosquestionsdeparents.fr/dossier/837/dangers-de-facebook-comment-seproteger/page/3
Sample writing task
Vous jouez le rôle de Fanny. Écrivez la conversation que vous avez avec votre père ou votre
mère à qui vous expliquez ce qui s’est passé. Incluez les détails pertinents en vous basant
uniquement sur le texte ci-dessus. Écrivez au moins 300 mots. Ne recopiez pas de longs
extraits du texte.
You are Fanny and you write the conversation you will be having with your parents,
explaining what has happened. Write approximately 300 words in French. Use details from
the text only but do not copy word for word examples from the text.
103/105
Family, social inequality, issues of tolerance
Près d'une mère célibataire sur deux déclare être à découvert à la fin du mois
Selon une enquête, 26% des femmes élevant seules leur(s) enfant(s) avouent ne pas réussir à
boucler leur budget sans être à découvert. Et 52% éprouvent le sentiment de ne pouvoir
compter sur personne ...
Precarité: 53% des mères célibataires estiment que le manque d'argent est leur principale
difficulté au quotidien, selon une enquête Ipsos/Logica Business Consulting pour Femme
Actuelle. http://lexpansion.lexpress.fr/economie/pres-d-une-mere-celibataire-sur-deuxdeclare-etre-a-decouvert-a-la-fin-du-mois_348139.html
Passer du temps en famille rendrait les enfants plus heureux
Prendre ses repas ensemble, passer du temps en famille, et avoir un mariage harmonieux:
voici comment rendre votre enfant heureux, si l'on en croit un sondage réalisé au RoyaumeUni et publié le 2 avril.
Les chercheurs affirment que les enfants interrogés pour l'étude ont déclaré être plus heureux
lorsqu'ils dînaient avec leur famille au moins trois fois par semaine.
http://www.femmeactuelle.fr/enfant/news-enfant/enfants-heureux-02164
Cinq règles d’or pour concilier job et vie perso
Vous avez l’impression de vivre à cent à l’heure? Pas facile d’avoir un job à temps complet,
devoir s’occuper de la maison et d’arriver à dégager un peu de temps pour soi.
10 astuces pour gagner du temps après le travail. http://www.femmeactuelle.fr/droitjob/emploi-pratique/gagner-du-temps-01856
S’or-ga-ni-ser … C’est évidemment le maître mot pour concilier ses différentes vies de femme
et gérer le stress. Des conseils pour être zen au bureau … et communiquer! Vous avez un
dossier important à rendre à votre chef, mais ne voulez pas pour autant rater la fête de fin
d’année du petit dernier? http://www.femmeactuelle.fr/droit-job/emploi-pratique/10facons-de-se-sentir-zen-au-bureau-01521
Entretenir son réseau: Prise par le quotidien, on oublie souvent de consacrer du temps à son
réseau professionnel. C’est une erreur car ‘le jour où vous voulez changer de job ou évoluer
dans votre propre entreprise, il faut avoir des contacts et pris des
renseignements’.http://www.femmeactuelle.fr/droit-job/emploi-pratique/candidature-enligne-09747
Se réserver du temps pour soi. Avoir une vie active, une maison à tenir, des enfants à élever …
c’est sûr, vos semaines sont bien remplies. http://www.femmeactuelle.fr/droit-job/emploipratique/famille-vie-12410
Une maison pour aider les parents
A la Maison des familles de Grenoble, on accueille des parents en grande précarité,
accompagnés de leurs enfants. Un lieu de soutien et d’écoute sur l’éducation, l’école, où
chacun partage son expérience … http://www.femmeactuelle.fr/actu/mamans-solo/unemaison-pour-aider-les-parents-01758
104/105
Sondage exclusif: Les Français sont très famille!
Fini le traditionnel un père, une mère et des enfants. Désormais la famille n’a plus un mais
plusieurs visages comme le révèle notre sondage. Mais qu’elle soit traditionnelle,
recomposée ou homoparentale, elle reste un lieu de partage et de réconfort.
Bienvenue à l’ère de la famille plurielle
Impossible de définir la famille de manière univoque! Elle reflète aujourd’hui la réalité
plurielle de notre société. Comme le montre notre sondage, l’évolution des modes de vie a eu
un impact sur la manière dont chacun se la représente.
(http://www.femmeactuelle.fr/actu/presidentielle-2012/sondage-comment-les-francaisvoient-la-famille-01056)
Journée des Femmes: L’équilibre entre travail et famille encore difficile
Alors que deux tiers des femmes de 15 à 64 ans sont aujourd'hui actives, la majorité de celles
qui sont en couple s’occupe encore principalement des tâches ménagères à la maison. Si la
situation de la gent féminine s'est considérablement améliorée ces dernières années, tant au
sein du foyer que dans l'entreprise, des disparités hommes-femmes subsistent encore. La
Journée internationale des Femmes (8 mars) donne l’occasion de revenir sur ce difficile
équilibre entre travail et famille. http://www.femmeactuelle.fr/droit-job/news-vie-prodroits/equilibre-famille-travail-02120
Conseils et écoute sans préjugés
Une mission qui passe d’abord par l’écoute et l’échange. Le moment avec tous les parents est
l’occasion d’aborder des questions d’éducation. Punir son enfant, qu’en pensez-vous?
http://www.femmeactuelle.fr/actu/mamans-solo/une-maison-pour-aider-les-parents01758/(page)/2
Entretien avec Claude Greff
A l'occasion de notre sondage ‘Famille, je vous aime !’, Claude Greff, la secrétaire d’Etat
chargée de la Famille, a accepté de nous recevoir pour répondre à nos questions et nous faire
partager son point de vue. (Actu du 05/03/12)

http://www.enfant.com/actu/Entretien-avec-Claude-Greff.html#xtor=AL-11

http://www.enfant.com/actu/Entretien-avec-Claude-Greff.html?page=2

http://www.enfant.com/actu/Entretien-avec-Claude-Greff.html?page=3
105/105

French Extension - Curriculum Support

Transcription

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