Re-Viewing the Battle of Algiers with Germaine Tillion Author(S): Donald Reid Source: History Workshop Journal, No
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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 Myth of the Good Italian in the Italian Cinema
ISSN 2039-2117 (online) Mediterranean Journal of Social Sciences Vol 5 No 16 ISSN 2039-9340 (print) MCSER Publishing, Rome-Italy July 2014 The Myth of the Good Italian in the Italian Cinema Sanja Bogojević Faculty of Philosophy, University of Montenegro Doi:10.5901/mjss.2014.v5n16p675 Abstract In this paper we analyze the phenomenon called the “myth of the good Italian” in the Italian cinema, especially in the first three decades of after-war period. Thanks to the recent success of films such as Tarantino’s Inglorious Basterds or Academy Award- winning Benigni’s film La vita è bella and Spielberg’s Schindler’s List it is commonly believed that the Holocaust is a very frequent and popular theme. Nevertheless, this statement is only partly true, especially when it comes to Italian cinema. Soon after the atrocities of the WWII Italian cinema became one of the most prominent and influential thanks to its national film movement, neorealism, characterized by stories set amongst the poor and famished postwar Italy, celebrating the fight for freedom under the banners of Resistance and representing a nation opposed to the Fascist and Nazi regime. Interestingly, these films, in spite of their very important social engagement, didn’t even mention the Holocaust or its victims and it wasn’t until the 1960’s that Italian cinema focused on representing and telling this horrific stories. Nevertheless, these films represented Italians as innocent and incapable of committing cruel acts. The responsibility is usually transferred to the Germans as typically cold and sadistic, absolving Italians of their individual and national guilt. -
During the Algerian War of Independence (1954-1962): Mansourah, Kabylia
A MICROHISTORY OF THE FORCED RESETTLEMENT OF THE ALGERIAN MUSLIM POPULATION DURING THE ALGERIAN WAR OF INDEPENDENCE (1954-1962): MANSOURAH, KABYLIA A THESIS SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF ARTS AND SCIENCES OF GEORGETOWN UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN Arab Studies BY DOROTHEE M. KELLOU, B.A. WASHINGTON, DC APRIL 18, 2012 Copyright 2012 by DOROTHEE M. KELLOU All Rights Reserved ii A MICROHISTORY OF THE FORCED RESETTLEMENT OF THE ALGERIAN MUSLIM POPULATION DURING THE ALGERIAN WAR OF INDEPENDENCE (1954-1962): MANSOURAH, KABYLIA DOROTHEE M. KELLOU, M.A. THESIS ADVISOR: OSAMA ABI-MERSHED, PHD. Abstract During the Algerian war of independence, which lasted from 1954-1962, about 3,525,000 Algerians were forced to leave their homes. 2,350,000 of them were resettled in camps created ex-nihilo by the French army and 1,175,000 of them were resettled in pre-existing villages near French military outposts. This practice of resettlement, euphemistically referred to as regroupement in the French official terminology, was an essential tool of the French military policy of pacification. This thesis presents a microhistory of the resettlement of Algerian Muslims by the French military. It focuses on one case, the village of Mansourah, located in the South of Kabylia, 220 km East of Algiers. By juxtaposing and putting into dialogue memories of both the Algerian Muslim population and the French army, and with the aid of archival documents, I seek to illuminate the history of regroupement in Mansourah. By using a Foucauldian conception of subject and power, this thesis shows how the French colonial powers used disciplinary methods and brutal means of repression to create docile bodies, perpetuate their domination over Algeria, and affect the subjectivity of the colonized. -
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 -
Nonprofessional Acting in El Perro Issue 9 | Movie: a Journal of Film Criticism | 56
Nonprofessional Acting in El Perro Issue 9 | Movie: A Journal of Film Criticism | 56 interpretable, or because the performers are, from this initial is also renamed after the non-actor, which makes it easier for contact with the filmmaking devices, modifying their behav- the performer to identify with the role. On set, scripts are iour and incorporating gestures and mannerisms. For these withheld from the non-actors, favouring instead the use of filmmakers it is the contact with the camera (the recording cues and verbal explanations. (This alleviates the performer’s device) that inevitably changes the person’s behaviour and possible difficulties memorising lines.) Non-actors are also their status as film performers. encouraged to adapt words and sentences to their natural way Robert Bresson, who made the use of non-actors a dis- of speaking. Sorin also shoots in chronological order (Sorin tinctive feature of his filmmaking style, would disagree. For in Ponce 2004), a technique facilitated by the use of a small Bresson what radically altered the non-actor’s behaviour and production crew. The shooting ratio is very high, often above their status was not performing for the camera but watching thirty to one, as scenes are not rehearsed; rather, all rehearsals their own on-screen performance. Bresson explains: are filmed. Do not use the same models in two films. […] They would These choices, popular among social realist filmmak- look at themselves in the first film as one looks at one- ers such as Ken Loach, help withhold fictional events from Nonprofessional Acting self in the mirror, would want people to see them as they the performer so that actor and character discover them wish to be seen, would impose a discipline on themselves, simultaneously.4 The emphasis is on preserving a quality of in El Perro would grow disenchanted as they correct themselves. -
A Total War of the Mind: the French Theory of La Guerre Révolutionnaire, 1954-1958
King’s Research Portal DOI: 10.1177/0968344516661214 Document Version Peer reviewed version Link to publication record in King's Research Portal Citation for published version (APA): Finch, M. P. M. (2017). A Total War of the Mind: the French Theory of la Guerre Révolutionnaire, 1954-1958. War in History . https://doi.org/10.1177/0968344516661214 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. -
ME,YOUBY BILLE AUGUST a Film Based on the Novel “Tu, Mio” by ERRI DE LUCA SYNOPSIS
ME,YOUBY BILLE AUGUST A Film based On The Novel “Tu, Mio” by ERRI DE LUCA SYNOPSIS Ischia, 1955. In the waters of the island in the bay of Naples, Marco (16) Caia is Jewish. Marco does not have these prejudices, on the contrary, spends his days sailing with Nicola (52), a hardened fisherman who tells this discovery pushes him to delve into the girl’s life even more. A stories about the sea and the war, that is still very fresh in his memory. beautiful complicity is established between the two in which Caia reveals Marco is different from the other boys, he prefers spending his time her painful past, with a childhood stolen by the SS and a father who in the company of the hermetic Nicola rather than going to the beach, preferred to throw his daughter out of a train in Yugoslavia, rather having courting girls or bathing in the ocean like his peers. Shy and curious, he her to experience the horrors of a concentration camp. takes advantage of his holidays on the Italian island to fill his eyes with Marco’s gestures remind Caia of her father: his protective attitudes, the images of a world that is so distant from his native London or from the way he kisses her on the forehead, the sound of his voice when he the gloomy boarding school in Scotland where his family sheltered Marco pronounces her name in Romanian, Chaiele. Next to him she feels the to protect him from the bombings. presence of her father, even though Marco is just a slender boy 4 years On vacation with his parents at his maternal uncle’s house, he will live younger than her. -
Texto Completo (Pdf)
ZBD # 8 La mostra di Venezia prima, durante e dopo Pontecorvo Roberto Donati Arezzo, Italia [email protected] Artículo recibido el 30/02/2016, aceptado el 10/05/2016 y publicado el 15/07/2016 Reconocimiento-No comercial-Sin obras derivadas 3.0 License 68] RIASSUNTO: Breve introduzione storica alla Mostra Internazionale d’Arte Cinematografica di Venezia. Le ragioni che hanno portato alla scelta di Gillo Pontecorvo come direttore, nel 1992. Le linee programmatiche di Pontecorvo, i successi e i primi passi falsi: il caso Gli spietati. Le cinque edizioni firmate Pontecorvo nel dettaglio: titoli, registi, scoperte, rivalutazioni. Le sue iniziative da direttore per ripopolare il Lido di spettatori comuni e soprattutto di giovani, dopo anni in cui la Mostra era diventata meta quasi esclusiva di addetti ai lavori. Il ritorno di Gillo a Venezia da ex direttore, di nuovo in veste di regista, con il cortometraggio Nostalgia di protezione. Infine, il dopo-Pontecorvo: da Felice Laudadio ad Alberto Barbera, da Moritz de Hadeln a Marco Müller, fino al ritorno di Barbera. Parole chiave: Mostra del Cinema di Venezia, direttore, Gillo Pontecorvo. 81) – (pp. 67 67 (pp. ∫ 3576 - ABSTRACT: A brief historical introduction to Venice Film Festival. The reasons that led Gillo Pontecorvo to become Director in 1992. Pontecorvo’s programmatic standpoint, 2255 N: successes and first false steps: the Unforgiven case. The five Pontecorvo editions in detail: SS I titles, directors, discoveries, reassessments. His initiatives aimed to repopulate the Lido of - common moviegoers, specifically young spectators, after years when the Mostra had 2016) 2016) become an insiders’ exclusive destination. -
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...... ..... ...... ..... .......... ... ........ .!;:i - - ... K.-- i:--B ........ .. ........ .......... .... ... ... ..... .... ... ... ... ..... .... oiu on .... ....... .. Coun n torri.e.,va ol, til Mozamb4w's War of ln.dOen en,-,o 19"64-1974 THOMAS 1. HENRIKSFN .... --------. ........ ........ ... ..... .... ... .......... i- - ro P. ....... .......... .................... 27 Northwestern University Library Evanston, Illinois 60201 LL Revolution and Counterrevolution Mozambique ... 9- i . + J . ,i+J m+. Revolution and Counterrevolution Mozambique's War of Independence, 1964-1974 THOMAS H. HENRIKSEN Contributions in Intercultural and Comparative Studies, Number 6 P Greenwood Press Westport, Connecticut * London, England 9G-1.103 H r Library of Congress Cataloging in Publication Data Henriksen, Thomas H. Revolution and counterrevolution. (Contributions in intercultural and comparative studies, ISSN 0147-1031 ; no. 6) Bibliography: p. Includes index. 1. Mozambique-Politics and government-To 1975. 2. National liberation movements-Mozambique. 3. Guerrillas-Mozambique. I. Title. I. Series. DT463.H46 967'.903 82- 6132 ISBN 0-313-23605-4 (lib. bdg.) AACR2 Copyright © 1983 by Thomas H. Henriksen All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 82-6132 ISBN: 0-313-23605-4 ISSN: 0147-1031 First published in 1983 Greenwood Press A division of Congressional Information Service, Inc. 88 Post Road West Westport, Connecticut 06881 Printed in the United States of America 10987654321 Once again, for Margaret Mary, Heather, Damien and Mungo Contents Tables ix Preface xi 1. Background to Revolution: Pacification and Resistance 3 2. The Military Insurgency of the Revolution 27 3. The Military Counterinsurgency of the Counterrevolution 45 4. Mobilization 71 5. Countermobilization 93 6. -
Burning the Veil: the Algerian War and the 'Emancipation' of Muslim
3 Unveiling: the ‘revolutionary journées’ of 13 May 1958 Throughout the period from early 1956 to early 1958 putschist forces had been gathering strength both within the army and among right- wing settler organisations and these eventually coalesced on 13 May 1958 when crowds gathered in the Forum and stormed the General Government buildings. The military rapidly used the crisis to effect a bloodless coup and to install a temporary ‘revolutionary’ authority headed by a Committee of Public Safety (Comité de salut public or CSP) under Generals Massu and Salan. There then followed a tense stand- off between the army in Algeria and the new Paris government headed by Pierre Pfl imlin, a three-week period during which civil war was a real possibility, until de Gaulle agreed to assume, once again, the role of ‘saviour of the nation’, and was voted into power by the National Assembly on 1 June.1 ‘13 May’ was one of the great turning points in modern French history, not only because it marked a key stage in the Algerian War, but more signifi cantly the collapse of the Fourth Republic, de Gaulle’s return to power, and the beginnings of the new constitutional regime of the Fifth Republic. The planning of the coup and its implementation was extraordi- narily complex – the Bromberger brothers in Les 13 Complots du 13 mai counted thirteen strands2 – but basically two antagonistic politi- cal formations reached agreement to rally to the call for de Gaulle’s return to power. On the one hand there was a secret plot by Gaullists, most notably Michel Debré (soon to become Prime Minister), Jacques Soustelle, Léon Delbecque and Jacques Chaban-Delmas (acting Minister of Defence), to engineer the return of the General so as to resolve the political crisis of the ‘system’, the dead hand of the party system of the Fourth Republic, which they viewed as destroying the grandeur of France. -
Memory, Empire, and Postcolonialism: Legacies of French Colonialism' and Singer and Langdon, 'Cultured Force: Makers and Defenders of the French Colonial Empire'
H-French-Colonial Barrows on Hargreaves, 'Memory, Empire, and Postcolonialism: Legacies of French Colonialism' and Singer and Langdon, 'Cultured Force: Makers and Defenders of the French Colonial Empire' Review published on Friday, January 15, 2010 Alec G. Hargreaves, ed. Memory, Empire, and Postcolonialism: Legacies of French Colonialism. Lanham: Lexington Books, 2005. 272 pp. $32.95 (paper), ISBN 978-0-7391-0821-5.Barnett Singer, John W. Langdon. Cultured Force: Makers and Defenders of the French Colonial Empire. Madison: University of Wisconsin Press, 2004. xi + 483 pp. $45.00 (cloth), ISBN 978-0-299-19900-5; $29.95 (paper), ISBN 978-0-299-19904-3. Reviewed by Leland Barrows (Voorhees College) Published on H-French-Colonial (January, 2010) Commissioned by Jyoti Mohan Myths and Realities: Conflicting Perceptions of French Colonial History and Postcolonialism Postcolonial studies came later to the Francophone than to the Anglophone world probably because of the trauma associated with much of French decolonization. There was also a felt need in France to come to terms with the Vichy era before turning to the almost as traumatic end of French rule in Algeria. But by the 1990s, French colonial studies were rapidly coming into vogue. The two books under review, Cultured Force, a revisionist history of the French empire that stresses a biographical approach to historical narrative, andMemory, Empire, and Postcolonialism, which publishes the proceedings of an interdisciplinary conference on cultural memory, are good examples of the varied types of writing that the rekindled interest in the French empire is spawning. “Biographical study,” the authors ofCultured Force inform their readers, “provides a relatively painless way to introduce people to an era’s subtleties,”enabling them to develop an awareness of the relativity and the contradictions of received truths, particularly those reflecting the history of modern imperialism and colonialism (p. -
Reality and Representation of Algerian Women: the Complex Dynamic of Heroines and Repressed Women
Illinois Wesleyan University Digital Commons @ IWU Honors Projects French and Francophone Studies 2012 Reality and Representation of Algerian Women: The Complex Dynamic of Heroines and Repressed Women Caroline Rohloff Illinois Wesleyan University Follow this and additional works at: https://digitalcommons.iwu.edu/french_honproj Part of the French and Francophone Language and Literature Commons Recommended Citation Rohloff, Caroline, "Reality and Representation of Algerian Women: The Complex Dynamic of Heroines and Repressed Women" (2012). Honors Projects. 6. https://digitalcommons.iwu.edu/french_honproj/6 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by faculty at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. Reality and Representation of Algerian Women: The Complex Dynamic of Heroines and Repressed Women Honors Research Project – French and Francophone Studies 2011-2012 Caroline Rohloff Reality and Representation of Algerian Women: The Complex Dynamic of Heroines and Repressed Women After a long and bloody confrontation, lasting from 1954 until 1962, Algerians were finally able to secure their independence. Although the 1962 constitution established numerous liberties, including the right of women to vote in national elections, the racial and gender hierarchies established during the colonial era endured into the development of modern Algeria.