The Battle of Algiers to Black Lives Matter
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A Book Review of Inside the Battle of Algiers, by Zohra Drif: a Thematic Analysis on Women’S Agency; W
A Book Review of Inside the Battle of Algiers, by Zohra Drif: A Thematic Analysis on Women’s Agency; W. Zekri Abstract This paper explores Zohra Drif’s memoir, Inside the Battle of Algiers, which narrates her desires as a student to become a revolutionary activist. She exemplified, in her narrative, the different roles, she and her fellows performed as combatants in the Casbah during the Algerian Revolution 1954-1962. This book review aims to evaluate the concept of women’s agency through education and language learning, and its impact on empowering women’s desires. Close-reading method and thematic analysis are used to explore the text. The analysis identified themes that refine the meaning of agency which are social and cultural supports, education, and language proficiency. These themes aim to contribute to the representation in Inside the Battle of Algiers of a woman guerrilla who engaged herself to perform national acts of resistance. Introduction This review is about Zohra Drif’s book entitled Memoir of a Woman Freedom Fighter: Inside the Battle of Algiers. Zohra is born in 1934 in Tiaret, a city situated in the west part of Algeria. She was a Law student at the University of Algiers. She conducted several revolutionary acts. This book is an autobiography of her life in which she used the first pronoun ‘I’ to portray her story. She published this book in French in 2013; then, it was translated into English by Andrew Farrand and published in 2017. This book is worth being published, as it tells a story of two young educated women, Zohra and Samia, who sacrificed their lives for the Algerian cause of independence, and gained the honor to be known as volunteers of death. -
The Cinema of Merzak Allouache Joseph Mcgonagle
Transculturality in Algiers: The Cinema of Merzak Allouache Joseph McGonagle Thanks to its rich and diverse history, the city of Algiers is undoubtedly a privileged site of transculturality. This was certainly the case in the French colonial period when, as Zeynep Çelik argues, colonial Algeria was the most important but most problematic of the French overseas territories and constituted “the colonial city par excellence, the terrain of many battles— cultural, political, military, urban, architectural.”1 Furthermore, as Martin Evans and John Phillips point out: “French rule in Algeria lasted for 132 years, as opposed to 75 years in Tunisia and 44 in Morocco, a depth and duration of colonial experience unique within the Arab world.”2 As a consequence, France “remains an omnipresent feature of Algeria,” and the complexity of its historical legacy helps ensure that Algeria is “the most francophone of France’s former territories.”3 Crucially, the Bay of Algiers forms a major economic maritime hub. As Tom Trevor has asserted regarding port cities more broadly, such spaces provide “symbolic sites of cultural exchange. They are the points of entry and departure, the mouth of an imagined body of the nation-state, where the foreign gets muddled up with the familiar and land-locked certainty is blurred by maritime exchange.”4 Given that Algiers is bordered by the Mediterranean Sea, Trevor’s argument pertains all the more, as the profound cultural and linguistic diversity of this geographical space “encourages a reshuffling of the usual cards of national belonging and unilateral framing.”5 As the capital city and seat of state power, Algiers has played a pivotal role in the formation of Algeria as a nation and the development of Algerian cultural identity. -
The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author -
History Newsletter Published Biannually Fall 2020 California State University, Bakersfield Vol
History Newsletter Published Biannually Fall 2020 California State University, Bakersfield Vol. 30, No. 1 Editor: Miriam Raub Vivian; Asst. Editor: Chris Tang; Production Editor: Jean Stenehjem. For current information, visit our website at www.csub.edu/history/; for history program forms, schedules, and information, see the rack outside the History Department Office, HOB 131, or visit www.csub.edu/history, and CSUBakersfieldHistory on Facebook. FROM THE CHAIR CAPITAL FELLOWS PROGRAMS As the fall semester concludes, I hope our history community is The nationally recognized Capital Fellows Programs consists of the safe and able to isolate as much as possible. Although we now following four fellowships: Jesse M. Unruh Assembly Fellowship know that the CSU plans a return to campus in fall 2021 Program, Executive Fellowship Program, Judicial Fellowship (YAY!), we still have another semester dealing with the Program, California Senate Fellows Program. challenges that remote learning poses, and I wish all my colleagues and our students the very best in navigating another Note that they are currently accepting applications for their 2021-22 term. From what I can tell, everyone is doing their utmost to class. Additional information can be found at: Capital Fellows make this year a success. As with so much else this semester, Programs [csus.edu] we’ve had to make many adjustments, including creating a Applicants may apply to one or more of the programs that meet their faculty department welcome video to stand in for the in-person interests and qualifications. Recent graduates, graduate, welcome with pizza we’ve enjoyed these past two years. If postgraduate, and mid-career applicants are welcome to you’ve not seen the video, you may access it apply. -
The Political Import and Impact of the Battle of Algiers
Cine Qua Non: The Political Import and Impact of The Battle of... http://lisa.revues.org/5006 Revue LISA/LISA e-journal Littératures, Histoire des Idées, Images, Sociétés du Monde Anglophone – Literature, History of Ideas, Images and Societies of the English-speaking World Vol. X – n° 1 | 2012 : Regards croisés sur des guerres contemporaines H/histoire(s) et résonances de guerre(s) : témoignages littéraires et représentations cinématographiques Cine Qua Non: The Political Import and Impact of The Battle of Algiers Cine Qua Non : L’impact de La bataille d’Alger STEPHEN J. WHITFIELD p. 249-270 Résumé Co-production italo-algérienne (en français et en arabe), La Battaglia di Algeri (1965), mérite le titre de meilleur film jamais réalisé. Gillo Pontecorvo, réalisateur et co-scénariste, montre avec brio et perspicacité les luttes de groupes d’insurgés se livrant à une guérilla urbaine dans l’Alger des années 1954-1957. Dans son portrait des exactions terroristes, ce film anticipe une vision du monde actuel, empli d’une violence effroyable, insoutenable. Ce 1 of 18 3/30/16, 1:50 PM Cine Qua Non: The Political Import and Impact of The Battle of... http://lisa.revues.org/5006 film prémonitoire a un impact indéniable sur le temps présent. Que l’on soit de gauche ou de droite, de 1965 à nos jours, ce film ne cesse de fasciner. Ainsi dans le cadre de cette étude, je tenterai de mettre en relief la réalité historique à travers l’art cinématographique. Censuré en France en 1965, et peu projeté en salle dans la décennie qui suivit, ce film garde de sa force impressionnante grâce à son style étonnant mais aussi au thème choisi, criant par son éternelle actualité. -
300 Greatest Films 4 Black Copy
The goal in this compilation was to determine film history's definitive creme de la creme. The titles considered to be the greatest of the great from around the world and throughout the history of film. So, after an in-depth analysis of respected critics and publications from around the globe, cross-referenced and tweaked to arrive at the ranking of films representing, we believe, the greatest cinema can offer. Browse, contemplate, and enjoy. Check off all the films you have seen 1 Citizen Kane 1941 USA 26 The 400 Blows 1959 France 51 Au Hasard Balthazar 1966 France 76 L.A. Confidential 1997 USA 2 Vertigo 1958 USA 27 Satantango 1994 Hungary 52 Andrei Rublev 1966 USSR 77 Modern Times 1936 USA 3 2001: A Space Odyssey 1968 UK 28 Raging Bull 1980 USA 53 All About Eve 1950 USA 78 Mr Hulot's Holiday 1952 France 4 The Rules of the Game 1939 France 29 L'Atalante 1934 France 54 Sunset Boulevard 1950 USA 79 Wings of Desire 1978 France 5 Seven Samurai 1954 Japan 30 Annie Hall 1977 USA 55 The Turin Horse 2011 Hungary 80 Ikiru 1952 Japan 6 The Godfather 1972 USA 31 Persona 1966 Sweden 56 Jules and Jim 1962 France 81 The Apartment 1960 USA 7 Apocalypse Now 1979 USA 32 Man With a Movie Camera 1929 USSR 57 Double Indemnity 1944 USA 82 Discreet Charm of the Bourgeoisie 1972 France 8 Tokyo Story 1953 Japan 33 E.T. the Extra-Terrestrial 1982 USA 58 Contempt (Le Mepris) 1963 France 83 The Seventh Seal 1957 Sweden 9 Taxi Driver 1976 USA 34 Star Wars Episode IV 1977 USA 59 Belle De Jour 1967 France 84 Wild Strawberries 1957 Sweden 10 Casablanca 1942 USA 35 -
LS 180.01: Introduction to Film
University of Montana ScholarWorks at University of Montana Syllabi Course Syllabi Fall 9-1-2000 LS 180.01: Introduction to Film Lynn Purl University of Montana, Missoula Follow this and additional works at: https://scholarworks.umt.edu/syllabi Let us know how access to this document benefits ou.y Recommended Citation Purl, Lynn, "LS 180.01: Introduction to Film" (2000). Syllabi. 5178. https://scholarworks.umt.edu/syllabi/5178 This Syllabus is brought to you for free and open access by the Course Syllabi at ScholarWorks at University of Montana. It has been accepted for inclusion in Syllabi by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Autumn 2000 Lynn Purl Liberal Studies 180 [email protected] Intro to Film Office: LA 155 M 1:10-4:00, UC Theatre 243 -5314 W 1:10-3:00, GBB L09 Home: 721-0517 Mailbox: Liberal Studies office, LA 101 Office hours: W 12:00-1:00,Th 2:00-3:30, and by appointment Course description:This course will serve as an introduction to basic concepts of film and film theory. The goal is to encourage you to become more sophisticated viewers and consumers of movies, with an ability to view films as art, as marketplace commodities, as technology, as historical documents, and as cultural and ideological forces. I also hope you will increase your ability to organize and articulate your insights, both in class discussions and in writing. Required text:Understanding Movies, eighth edition, by Louis Giannetti Course requirements:Quizzes, final, term paper, and discussion paragraphs, as well as regular attendance and participation. -
Re-Viewing the Battle of Algiers with Germaine Tillion Author(S): Donald Reid Source: History Workshop Journal, No
Re-Viewing the Battle of Algiers with Germaine Tillion Author(s): Donald Reid Source: History Workshop Journal, No. 60 (Autumn, 2005), pp. 93-115 Published by: Oxford University Press Stable URL: https://www.jstor.org/stable/25472817 Accessed: 25-09-2018 11:09 UTC REFERENCES Linked references are available on JSTOR for this article: https://www.jstor.org/stable/25472817?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to History Workshop Journal This content downloaded from 130.235.66.10 on Tue, 25 Sep 2018 11:09:52 UTC All use subject to https://about.jstor.org/terms Germaine Tillion in discussion at St Mande, date and companion unknown. Re-viewing The Battle of Algiers with Germaine Tillion by Donald Reid Whatever the outcome of this Algerian war, it is certain that in fifty years, one hundred years, the Algerians will remember. They will teach their children what that year 1957 was. Legends will be born of the time when the Casbah, the most profound symbol of their community, was night and day under siege, when terror reigned as absolute master, when each of the inhabitants could at any time say: 'In an hour, maybe they will knock on my door and take me away forever Pierre Leulliette, a paratrooper in Algiers1 I learned from the newspapers that in the Algiers Casbah a leader of the FLN [Yacef Saadi] and his young woman companion [Zohra Drif ] were holding out against the assaults of the French army. -
Pacification in Algeria, 1956-1958
THE ARTS This PDF document was made available CHILD POLICY from www.rand.org as a public service of CIVIL JUSTICE the RAND Corporation. EDUCATION ENERGY AND ENVIRONMENT Jump down to document6 HEALTH AND HEALTH CARE INTERNATIONAL AFFAIRS The RAND Corporation is a nonprofit NATIONAL SECURITY research organization providing POPULATION AND AGING PUBLIC SAFETY objective analysis and effective SCIENCE AND TECHNOLOGY solutions that address the challenges SUBSTANCE ABUSE facing the public and private sectors TERRORISM AND HOMELAND SECURITY around the world. TRANSPORTATION AND INFRASTRUCTURE WORKFORCE AND WORKPLACE Support RAND Purchase this document Browse Books & Publications Make a charitable contribution For More Information Visit RAND at www.rand.org Explore the RAND Corporation View document details Limited Electronic Distribution Rights This document and trademark(s) contained herein are protected by law as indicated in a notice appearing later in this work. This electronic representation of RAND intellectual property is provided for non- commercial use only. Permission is required from RAND to reproduce, or reuse in another form, any of our research documents. This product is part of the RAND Corporation monograph series. RAND monographs present major research findings that address the challenges facing the public and private sectors. All RAND mono- graphs undergo rigorous peer review to ensure high standards for research quality and objectivity. Pacification in Algeria 1956 –1958 David Galula New Foreword by Bruce Hoffman This research is supported by the Advanced Research Projects Agency under Contract No. SD-79. Any views or conclusions contained in this Memorandum should not be interpreted as representing the official opinion or policy of ARPA. -
Antifascist Neorealisms
six Antifascist Neorealisms North- South and the Permanent Battle for Algiers Confronted with the disasters of the twentieth century (and now those of the twenty-first), antifascism has had two tasks. First, to depict the reality of fascist violence as violence, and not as an artwork. Next it must offer a different possibility of real existence to confront the fascist claim that only the leader could resolve the problems of modern society. It meant claiming a place from which there is a right to look, not just behold the leader. For both W. E. B. Du Bois and Antonio Gramsci, writing in the 1930s, that place was what they called the “South,” understood as the complex and difficult place from which resistance had to begin and also as the emergent future. The mistake of the antifascist Left, in this view, was to ignore the “South” as an atavistic relic of servile relations, failing to realize that such relations were as much part of modernity as heavy industry. Fascism itself can be situated as a South-North flow of colonial politics, sometimes literally, as in the case of Franco’s use of Moroccan armies in Spain, more often meta- phorically in the installation of a police state, above all in Germany. Anti- fascism did not fully succeed in creating a form of realism from the “South” until after the Second World War—which was by no means the end of fascism, as Frantz Fanon made clear in his writing on Algeria. Indeed, in thinking through how fascist visuality came to be the intensified modality of the imperial complex, I kept coming up against the place of Algeria and the battle for Algiers during and after the revolutionary war (1954–62). -
Representations of the Algerian War of Independence
Representations of the Algerian War of Independence Philip Jones Griffiths / Magnum Photos French 502: Raison et Déraison I Tuesdays, 2-4:50 PM, THH 221 Olivia C. Harrison [email protected] 213.740.0104 Office hours: THH 153, M 1-3pm or by appointment Course description The most violent and protracted decolonization struggle of the twentieth century, the Algerian war of independence (1954-1962) continues to be fought over in official, academic, artistic, and popular circles on both shores of the Mediterranean. In France, the contested legacy of the conflict variously described as a revolution, police operation, war, civil war, or simply “the events” has shaped debates about colonization, torture, immigration, Islam, democracy, and multiculturalism. In Algeria, it has fueled controversies about historiography, censorship, and state legitimacy and repression. While the Algerian war undeniably remains an iconic emblem of anticolonial resistance around the world, most famously captured in Gillo Pontecorvo’s film The Battle of Algiers, it also violently opposed FLN and MNA supporters, independence fighters and harkis, pro- and anti-French Algeria militants, among others, making it a civil conflict in more ways than one: between France and Algeria before these were discrete terms, and between fellow Algerians and fellow French(wo)men. As many critics have noted, it was also a battle of ideas, fought through and in fiction and non-fiction books, films, memoirs, and essays. Far from being a fleeting if bloody episode of the recent past, the Algerian war is thus constitutive of both Fifth Republic France and contemporary Algeria, and a point of entry into French and Algerian literature, popular culture, and intellectual history. -
Natalya Vince, Colonial and Post-Colonial Identities
Colonial and Post-Colonial Identities 153 Colonial and Post-Colonial Identities: Women Veterans of the “Battle of Algiers” Natalya Vince* When seventeen-year-old student Baya Hocine was put on trial in Algiers in late 1957, accused of planting bombs for the Algerian Front de Libération Nationale (FLN), the French colonial authorities sought out her school reports for the case file. Baya Hocine’s teachers describe an excellent student: extremely intelligent with a lively personality, although reluctant to express any unhappy emotions.1 Could her teachers have guessed that this high-achieving pupil of the French education system in colonial Algeria would go on to commit such a violent expression of anti- colonialism, planting a bomb in an Algiers stadium that killed two people and injured 24 others? It seems unlikely. Unrepentant, Baya Hocine was condemned to death, then reprieved, and passed the rest of the liberation struggle in prison until Algerian Independence was finally won in 1962. Twenty years later, she was a deputy in the Algerian National Assembly during the debates around the introduction of a Family Code. Baya Hocine energetically argued against the Code, which institutionalized gender inequality and reduced women to the status of minors for life, only to be * Natalya Vince received her Ph.D. in 2008 from the University of London (Queen Mary) for her thesis, “To be a Moudjahida in Independent Algeria: Itineraries and Memories of Women Veterans of the Algerian War.” Her research interests lie in twentieth century French and North African history, politics and society. She is a lecturer in the School of Languages and Area Studies at the University of Portsmouth.