{"id":19342,"date":"2023-02-06T21:51:46","date_gmt":"2023-02-06T20:51:46","guid":{"rendered":"https:\/\/observatoiredesimages.org\/focus-11-la-source-produit-par-nolita\/"},"modified":"2024-07-08T17:11:06","modified_gmt":"2024-07-08T15:11:06","slug":"focus-11-la-source-an-example-for-cause-placement-in-cinema","status":"publish","type":"post","link":"https:\/\/observatoiredesimages.org\/en\/focus-11-la-source-an-example-for-cause-placement-in-cinema\/","title":{"rendered":"FOCUS #11 &#8211; &#8220;La Source&#8221; (produced by Nolita) :  an example for &#8220;cause placement&#8221; in cinema"},"content":{"rendered":"<div id='av_section_1'  class='avia-section av-ldsvq760-8507a5175be0d033528789d8facfd3b4 main_color avia-section-default avia-no-border-styling  avia-builder-el-0  avia-builder-el-no-sibling  focus-ensemble avia-bg-style-scroll av-minimum-height av-minimum-height-100 av-height-100  container_wrap fullsize'   data-av_minimum_height_pc='100' data-av_min_height_opt='100'><div class='container av-section-cont-open' ><main  role=\"main\" itemprop=\"mainContentOfPage\"  class='template-page content  av-content-full alpha units'><div class='post-entry post-entry-type-page post-entry-19342'><div class='entry-content-wrapper clearfix'>\n<section  class='av_textblock_section av-ldt97fep-6aa5f901f0dc0e066590af5bcf55968a '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock retour-focus'  itemprop=\"text\" ><a href=\"https:\/\/observatoiredesimages.org\/nos-focus\/\">< Retour Focus<\/a>\n<\/div><\/section>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-ldsvxm3d-174e11586fa517d3a011e7df31775ab3\">\n#top .flex_column.av-ldsvxm3d-174e11586fa517d3a011e7df31775ab3{\nmargin-top:0px;\nmargin-bottom:0px;\n}\n.flex_column.av-ldsvxm3d-174e11586fa517d3a011e7df31775ab3{\nbackground-color:#0a896b;\n}\n.responsive #top #wrap_all .flex_column.av-ldsvxm3d-174e11586fa517d3a011e7df31775ab3{\nmargin-top:0px;\nmargin-bottom:0px;\n}\n<\/style>\n<div  class='flex_column av-ldsvxm3d-174e11586fa517d3a011e7df31775ab3 av_one_full  avia-builder-el-2  el_after_av_textblock  el_before_av_one_full  numero-ensemble first flex_column_div  column-top-margin'     ><style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-ldsvq00q-0c3e21f729fd0dc7a9c9606b220f7b02\">\n#top .av_textblock_section.av-ldsvq00q-0c3e21f729fd0dc7a9c9606b220f7b02 .avia_textblock{\nfont-size:20px;\ncolor:#0c0c0c;\ntext-align:right;\n}\n<\/style>\n<section  class='av_textblock_section av-ldsvq00q-0c3e21f729fd0dc7a9c9606b220f7b02 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock numero av_inherit_color'  itemprop=\"text\" ><p style=\"text-align: right;\">FOCUS<br \/>\n#11<\/p>\n<\/div><\/section><\/div>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-85qqu-cbcc31b90b07f29db1b17532abca437b\">\n.flex_column.av-85qqu-cbcc31b90b07f29db1b17532abca437b{\nborder-width:4px;\nborder-color:#0a896b;\nborder-style:solid;\n}\n<\/style>\n<div  class='flex_column av-85qqu-cbcc31b90b07f29db1b17532abca437b av_one_full  avia-builder-el-4  el_after_av_one_full  avia-builder-el-last  contenu first flex_column_div  column-top-margin'     ><p>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-ldsv3l8z-a6a97b4adeddc34da9fc5752287a8634\">\n#top .av-special-heading.av-ldsv3l8z-a6a97b4adeddc34da9fc5752287a8634{\npadding-bottom:10px;\ncolor:#004aad;\n}\nbody .av-special-heading.av-ldsv3l8z-a6a97b4adeddc34da9fc5752287a8634 .av-special-heading-tag .heading-char{\nfont-size:25px;\n}\n.av-special-heading.av-ldsv3l8z-a6a97b4adeddc34da9fc5752287a8634 .special-heading-inner-border{\nborder-color:#004aad;\n}\n.av-special-heading.av-ldsv3l8z-a6a97b4adeddc34da9fc5752287a8634 .av-subheading{\nfont-size:15px;\n}\n<\/style>\n<div  class='av-special-heading av-ldsv3l8z-a6a97b4adeddc34da9fc5752287a8634 av-special-heading-h1 custom-color-heading blockquote modern-quote modern-centered  avia-builder-el-5  el_before_av_textblock  avia-builder-el-first '><h1 class='av-special-heading-tag'  itemprop=\"headline\"  ><span class='special_amp'>&#8220;<\/span>La Source<span class='special_amp'>&#8221;<\/span> (produced by Nolita) : an example for <span class='special_amp'>&#8220;<\/span>cause placement<span class='special_amp'>&#8221;<\/span> in cinema<\/h1><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><br \/>\n<section  class='av_textblock_section av-ldsv5zyh-4f33c147b4228344d19bab32c3ec4ff5 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock chapeau'  itemprop=\"text\" ><div class=\"page\" title=\"Page 1\">\n<div class=\"section\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<p><strong>With Nolita and Impact Film, partners of l&#8217;Observatoire des images. Nolita is a production company and Impact Film a financing company, for both fiction and documentary in cinema, television and platforms.<\/strong><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"page\" title=\"Page 1\">\n<div class=\"section\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<p><strong>Summary:<\/strong> Without going to the extent of substantially transforming the film into an openly political production, \u201ccause placement\u201d guarantees that a film\u2019s narrative does not convey stereotypical representations. It also makes sure that actors are able to fulfill roles in films and series outside the usual race and gender-based framework.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/section><br \/>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-ldsy3oaj-0b2cb3548b5aa7021ed07d9354de69ce\">\n#top .av_textblock_section.av-ldsy3oaj-0b2cb3548b5aa7021ed07d9354de69ce .avia_textblock{\ncolumn-count:2;\ncolumn-gap:5%;\n}\n\n@media only screen and (max-width: 989px){ \n#top .av_textblock_section.av-ldsy3oaj-0b2cb3548b5aa7021ed07d9354de69ce .avia_textblock{\ncolumn-count:1;\n}\n.av_textblock_section.av-ldsy3oaj-0b2cb3548b5aa7021ed07d9354de69ce .avia_textblock.av_multi_colums > p:first-child{\nmargin-top:0.85em;\n}\n}\n<\/style>\n<section  class='av_textblock_section av-ldsy3oaj-0b2cb3548b5aa7021ed07d9354de69ce '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock av_multi_colums'  itemprop=\"text\" ><div class=\"page\" title=\"Page 1\">\n<div class=\"section\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<p>Writing a screenplay constitutes a major step in the making of a film. It is at this level that the ideas, values and representations conveyed in the film are negotiated. This process occurs throughout an ongoing discussion between the production team and the screenwriters.<\/p>\n<p>Within this framework, Impact Film takes hold of a new tool: &#8220;cause placement&#8221;. Where others incorporate commercial products in films, Impact Film is committed to broaden our imagination, particularly regarding the representation of diversity and women empowerment.<\/p>\n<p>\u201cLa Source\u201d (Rodolphe Lauga, 2018) is a film produced by Nolita. The film tells the story of Samir, a young man from the Parisian suburbs. Although he is not able to swim, his dream is to become a surfing champion.<\/p>\n<p>Throughout the writing process of the screenplay, the production team has reworked several scenes in order to improve the movie&#8217;s representations.<\/p>\n<p>This film does not explicitly promote diversity issues, nor is built upon a classic narrative structure. However, the images shift from usual representations in French cinema, at least on three topics: the role of women, homosexuality and social inequality.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"page\" title=\"Page 1\">\n<div class=\"section\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<blockquote>\n<p><span style=\"color: #339966;\"><em>&#8220;The implementation of \u201ccause placement\u201d in a movie is rather simple. Moreover, it helps broaden our imagination, one that is more likely to reflect the contemporary world. It makes the entire movie- making process more creative and the film more interesting\u201d<\/em><\/span><br \/>\n<span style=\"color: #000000;\">Romain Rousseau and Maxime Delauney, producers at Nolita<\/span><\/p>\n<\/blockquote>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"page\" title=\"Page 1\">\n<div class=\"section\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<h2>THE ROLE OF WOMEN<\/h2>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"page\" title=\"Page 1\">\n<div class=\"section\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<p>Without openly promoting feminism, several scenes in the film feature strong female characters (such as the conflictual relationship of Samir with his sister or his romantic encounter).<\/p>\n<p>The original screenplay, however, portrayed Samir&#8217;s mother as a secondary character that did not benefit from any particular development.<\/p>\n<\/div>\n<\/div>\n<div class=\"layoutArea\">\n<div class=\"column\">\n<p>In this case, &#8220;cause placement&#8221; consists of strengthening her story arc: instead of merely appearing in the kitchen and cooking for her family, she taught her son to cook. With all the free time she had, Samir&#8217;s mother eventually followed her own dream and got her driver\u2019s license.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"attachment_1185\" style=\"width: 310px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" aria-describedby=\"caption-attachment-1185\" class=\"size-medium wp-image-1185\" title=\"photo focus 11\" src=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-11-300x193.png\" alt=\"photo focus 11\" width=\"300\" height=\"193\" srcset=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-11-300x193.png 300w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-11-400x258.png 400w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-focus-11.png 430w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><p id=\"caption-attachment-1185\" class=\"wp-caption-text\">Samir&#8217;s mother driving, La Source, 2019<\/p><\/div>\n<p style=\"text-align: justify;\"><img decoding=\"async\" class=\"aligncenter wp-image-19347 \" title=\"photo focus 11\" src=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/Capture-decran-2024-07-08-a-13.02.26.png\" alt=\"Capture d\u2019e\u0301cran 2024 07 08 a\u0300 13.02.26\" width=\"332\" height=\"420\" srcset=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/Capture-decran-2024-07-08-a-13.02.26.png 852w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/Capture-decran-2024-07-08-a-13.02.26-237x300.png 237w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/Capture-decran-2024-07-08-a-13.02.26-790x1000.png 790w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/Capture-decran-2024-07-08-a-13.02.26-768x972.png 768w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/Capture-decran-2024-07-08-a-13.02.26-316x400.png 316w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/Capture-decran-2024-07-08-a-13.02.26-500x633.png 500w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/Capture-decran-2024-07-08-a-13.02.26-237x300@2x.png 474w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/Capture-decran-2024-07-08-a-13.02.26-316x400@2x.png 632w\" sizes=\"(max-width: 332px) 100vw, 332px\" \/><\/p>\n<div class=\"page\" title=\"Page 2\">\n<div class=\"section\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<h2>HOMOSEXUALITY<\/h2>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"page\" title=\"Page 2\">\n<div class=\"section\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<p>Several scenes in the film show how Tony, Samir&#8217;s coach and a former world bodybuilding champion, is a victim of homophobic slurs.<\/p>\n<p>This stereotypical male attitude is shown for what it is: an unconscious component of an identity repertoire and an automatic generic language.<\/p>\n<p>The cause placement in &#8220;La Source&#8221; also consists in staging the evolution of the characters on how they position themselves in regards to homophobia. Throughout the movie, several of Samir&#8217;s friends will progressively defend Tony. One of them will erase homophobic tags on the door of Tony&#8217;s apartment.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"attachment_1189\" style=\"width: 310px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" aria-describedby=\"caption-attachment-1189\" class=\"size-medium wp-image-1189\" title=\"photo fpcus 11\" src=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-fpcus-11-300x190.png\" alt=\"photo fpcus 11\" width=\"300\" height=\"190\" srcset=\"https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-fpcus-11-300x190.png 300w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-fpcus-11-400x253.png 400w, https:\/\/observatoiredesimages.org\/wp-content\/uploads\/2023\/02\/photo-fpcus-11.png 441w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><p id=\"caption-attachment-1189\" class=\"wp-caption-text\"><span style=\"color: #5e17eb;\">Tony et Samir, La Source, 2019<\/span><\/p><\/div>\n<div class=\"page\" title=\"Page 2\">\n<div class=\"section\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<h2>SOCIAL INEQUALITY<\/h2>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"page\" title=\"Page 2\">\n<div class=\"section\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<p>In French cinema, the Parisian suburbs are traditionally portrayed as oppressive and wretched. In &#8220;La Source&#8221;, the suburban area is depicted as a simple setting. Furthermore, the film addresses Samir\u2019s dream to become a surfer since his job as a plumber starts to feel hopeless. Thanks to cause placement in \u201cLa Source\u201d, the difficult working conditions for plumbers are more thoroughly addressed than in the original version of the screenplay. In this respect, the issue of class dynamics is further highlighted especially when one of his clients utters condescending remarks to Samir as he repairs her clogged toilets, instead of thanking him for his skills and getting her out of trouble.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"page\" title=\"Page 2\">\n<div class=\"section\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<h2>CAUSE PLACEMENT : A MULTIFACETED TOOL<\/h2>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"page\" title=\"Page 2\">\n<div class=\"section\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<p>Placing causes in a screenplay does not entail distorting its core structure, but it adds a layer of complexity to the film and prevents the perpetuation of gender and racial stereotypes. &#8220;Cause placement&#8221; can also involve a higher diversity rate within the casting, in which anyone, regardless of their racial background, can be a lawyer, an artist, a banker or a member of parliament, rather than being racially appointed to roles such as offenders or security guards.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/section><br \/>\n<section  class='av_textblock_section av-ldsxuh8c-7e0145d7f931353dbc248361984dcf5d '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/BlogPosting\" itemprop=\"blogPost\" ><div class='avia_textblock pied-de-page'  itemprop=\"text\" ><div class=\"page\" title=\"Page 2\">\n<div class=\"section\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<p>Created in 2021, L\u2019Observatoire des images, is the first associative body that gather all the actors who are interested in the role of images in cinema, television, video games and advertisements, especially on the Internet.<\/p>\n<p>Whether they work in production, distribution, finance, communication, research or institutions, the partners of l\u2019Observatoire are all convinced that images can either highly restrict representations and lock them into stereotypes, or conversely, allow empowerment and broaden our imagination. These partners have reunited around l&#8217;Observatoire to discuss and act together.<\/p>\n<\/div>\n<\/div>\n<div class=\"layoutArea\">\n<div class=\"column\">\n<p>Join us: observatoiredesimages.org<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/section><br \/>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-76qpq-abb2a81d44e8f55023a6beca1a704ac4\">\n#top .hr.hr-invisible.av-76qpq-abb2a81d44e8f55023a6beca1a704ac4{\nheight:50px;\n}\n<\/style>\n<div  class='hr av-76qpq-abb2a81d44e8f55023a6beca1a704ac4 hr-invisible  avia-builder-el-9  el_after_av_textblock  el_before_av_button '><span class='hr-inner '><span class=\"hr-inner-style\"><\/span><\/span><\/div><br \/>\n<div  class='avia-button-wrap av-ldt1wov9-adb8228617a008e4c6fbdfb4df6139db-wrap avia-button-center  avia-builder-el-10  el_after_av_hr  avia-builder-el-last '><a href='https:\/\/observatoiredesimages.org\/focus\/11\/?tmstv=1684827681'  class='avia-button av-ldt1wov9-adb8228617a008e4c6fbdfb4df6139db avia-icon_select-no avia-size-small avia-position-center avia-color-theme-color'  ><span class='avia_iconbox_title' >Download the Focus (PDF)<\/span><\/a><\/div><\/p><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":981,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6,21],"tags":[],"_links":{"self":[{"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/posts\/19342"}],"collection":[{"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/comments?post=19342"}],"version-history":[{"count":7,"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/posts\/19342\/revisions"}],"predecessor-version":[{"id":19344,"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/posts\/19342\/revisions\/19344"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/media\/981"}],"wp:attachment":[{"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/media?parent=19342"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/categories?post=19342"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/observatoiredesimages.org\/en\/wp-json\/wp\/v2\/tags?post=19342"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}