Abstracts
Abstract
Anthony Minghella’s 2006 film Breaking and Entering frames two views of London focusing on King’s Cross station, one of the city’s key transportation hubs and, like many such centres, a complex site of marginality. To its main protagonist, the architect/urban designer Will Francis (Jude Law), it is a site to be transformed into a model (in several senses) of what London—and the practice of urban design—have to offer the “new” Europe. The viewpoint of the young Kosovan refugee Miro Simiç (Rafi Gavron) is quite different. He sees King’s Cross from the rooftops, which he clambers as a petty burglar by night to break into local offices. His acts of parkour (defined by its practitioners as “the art of displacement”) are central to the film. Miro, the teenaged character, exists in a space of displacement: displaced from his native Sarajevo, and from the streets of London by his status as refugee and thief. The film contrasts these two viewpoints—one which forms space, and one displaced—by citing real and imagined city-building projects in London, and placing them in relationship to the bodies of Will and Miro.
Résumé
Le film d’Anthony Minghella Breaking and Entering (2006) propose deux visions de Londres, toutes deux centrées sur la gare de King’s Cross, l’un des principaux axes du réseau de transport de la ville, mais aussi, comme plusieurs lieux de ce genre, un site complexe de marginalité. Pour le protagoniste principal, l’architecte et designer urbain Will Francis (Jude Law), il s’agit d’un site destiné à être transformé en un modèle (dans plusieurs sens du terme) de ce que Londres — et la pratique du design urbain — peut offrir à la « nouvelle » Europe. La perspective du jeune réfugié kosovar Miro Simic (Rafi Gavron) est fort différente. Le cambrioleur aperçoit la gare depuis les toits, qu’il arpente la nuit afin d’entrer par effraction dans les bureaux du quartier. Il s’y déplace en exécutant des figures de « parkour » (défini par ses adeptes comme « l’art du déplacement »), un aspect important du film. Le jeune Miro évolue dans un espace de déplacement : réfugié et voleur, il se voit tour à tour déplacé de Sarajevo, sa ville natale, et des rues de Londres. Le film oppose ainsi deux points de vue — l’un qui façonne l’espace, l’autre décalé — en mettant en relation des projets de bâtiments londoniens, réels ou imaginés, avec les corps de Will et Miro.
Appendices
Appendices
Bibliographie
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