'La Haine' Practice Question

5. How far does the impact of the films you have studied for this topic depend on distinctive uses of film techniques.

Introduction

'La Haine' is a 1995 french crime/drama/suspense film directed by Mathieu Kassovitz that depicts the lives of three french youth boys living in the outskirt banlieues of Paris in tower blocks named 'The Projects' in English translation. The words 'La Haine' translate to 'Hate' in English, an aspects in which the film tries to portray The
film was shot in colour but later edited to be viewed in black & white. This use of black & white evokes the film noir genre of film that was popular in America throughout the 1940's and 1950's that originated from German Expressionist cinematography.   

   One film technique that is quite often present in this film is the use of a three shot to capture the three main characters, Vinz, Hubert and Saïd as one entity such as the mixture of races within the area of France in which the film was shot. This three shot often places Saïd, a Maghrebi, in the middle of Vinz, a raging rebel Jew, and Hubert, an Afro-French boxer and small-time drug dealer, as he is suggested to be the middle ground of the two's backgrounds, despite not ever seeing his own background and the one who often times must choose who's side to pick when they are in disagreement. Generally the person who is leading the group at a particular time or in a situation, will be positioned in front of the other two.

   The film achieves a sense of the characters not feeling that they belong in the audiences mind by using a shallow depth of field. This technique in specific is predominant when the trio visit the centre of Paris. A loud non-diegetic gunshot is also often heard during the transitioning cuts between different scenes of the film. This gunshot foreshadows the suspenseful ending of the film in which it is suggested that either Hubert or a corrupt police officer is shot by the other, or both perhaps off screen. Another reoccurring technique, and foreshadowing of a tragic change in the lives of the characters, is the use of a non-diegetic ticking digital clock between each scene throughout the 19 consecutive hours of which the film is set. This clock resembles the sound of a ticking time-bomb, it is also another technique which is present in the last shot (and scene) of the film that helps build suspense.    

   The documentary style of film making used by Kassovitz that utilised zooms in on acts of violence from a far and handheld camera movement that allowed the audience to feel as though they were actual spectators of the violence, was criticised by some audience members and critics for contributing to a false portrayal of those living in the banlieues of Paris, and giving France in general a bad name. Despite these criticisms, the director, in my opinion at least, actually manages to portray real-life Paris of the time very well as events depicted in the film are very similar to those documented, such as rioting amongst the suburban male youth.

Notes:

The lighting in the film ranges from natural to highly stylistic and artificial. Chiaroscuro, a staple of film noir lighting, is also strongly present when the characters are in a troubled situation. 
I think that the use of black and white by the director to portray this story, is...
Sources:
http://www.criterion.com/current/posts/642-la-haine-and-after-arts-politics-and-the-banlieue