This study explains how Merzak Allouache broke away from Algerian state-run cinema to create an original style that makes him both unique and extremely interesting. This book provides context and analysis of his films.

Covering a period of five hundred years, from the arrival of the Ottomans to the aftermath of the Arab uprisings, James McDougall presents an expansive new account of the modern history of Africa's largest country. Drawing on substantial new scholarship and over a decade of research, McDougall places Algerian society at the centre of the story, tracing the continuities and the resilience of Algeria's people and their cultures through the dramatic changes and crises that have marked the country. Whether examining the emergence of the Ottoman viceroyalty in the early modern Mediterranean, the 130 years of French colonial rule and the revolutionary war of independence, the Third World nation-building of the 1960s and 1970s, or the terrible violence of the 1990s, this book will appeal to a wide variety of readers in African and Middle Eastern history and politics, as well as those concerned with the wider affairs of the Mediterranean.

The most incisive and up-to-date analysis of Algeria's recent history in the second 25 years after independence.

This topical and innovative study is the first book on Algerian cinema to be published in English since the 1970s. At a time when North African and Islamic cultures are of increasing political significance, Algerian National Cinema presents a dynamic, detailed and up to date analysis of how film has represented this often misunderstood nation. Algerian National Cinema explores key films from The Battle of Algiers (1966) to Mascarades (2007). Introductions to Algerian history and to the national film industry are followed by chapters on the essential genres and themes of filmmaking in Algeria, including films of anti-colonial struggle, representations of gender, Berber cinema, and filming the ‘black decade’ of the 1990s. This thoughtful and timely book will appeal to all interested in world cinemas, in North African and Islamic cultures, and in the role of cinema as a vehicle for the expression of contested identities. By the author of the critically-acclaimed Contemporary French Cinema.

Algeria Cuts discusses the figure of woman, both under colonial rule in Algeria and within the postcolonial independent nation-state. It is an interdisciplinary project that spans fine art, film, colonial and legal policy, manifestos, prose fiction, and theoretical and philosophical texts concerning the relationship between France and Algeria. Khanna investigates gendered representation, identification, and justice, and in the process, calls into question the ways in which conventional disciplinary frameworks foreclose certain avenues of reflection while foregrounding others. Algeria Cuts seeks to understand Algeria and Algerian women as a philosophical site that facilitates an understanding of justice and the pursuit of feminism.

This book brings together Algerian-based scholars and Algerians in the diaspora to address the many, salient issues facing Algeria, the largest country in Africa and the Middle East. Until February 22, 2019, Algeria looked like the beacon of stability in the region, for the authoritarian regime eluded the so-called Arab Spring, which resulted in chaos in a number of countries in the Middle East and North Africa. The authors of the chapters in this book are a mix of sociologists, economists, political scientists, linguists, and international relations specialists who have used the theoretical and methodological instruments in their respective fields to decipher the complexities that characterise the Algerian political system. In the domestic part, some of the chapters deal with issues seldom tackled in Maghreb studies, namely, the language and identities issues, which are at the forefront of the protest movement since February 2019. Other chapters analyse the role of the elites, the emergence of the new entrepreneurs, the future of energy, gender, media, and human rights, the predicament of the rentier state, and the resource curse. The international relations part examines Algeria’s roles in the Mediterranean and in the Sahel, the strategic partnership with China, the complicated relations with France, and the relations with Iran and the Gulf Cooperation Council (GCC). Exploring Algeria’s transformation, this collection is an original addition to the books on the Maghreb that will be a key resource to students and scholars interested in the developing world, the Middle East, and North Africa.

On 5 July 1962, Algeria became an independent nation, bringing to an end 132 years of French colonial rule. Algeria Revisited provides an opportunity to critically re-examine the colonial period, the iconic war of decolonisation that brought it to an end and the enduring legacies of these years. Given the apparent centrality of violence in this history, this volume asks how we might re-imagine conflict so as to better understand its forms and functions in both the colonial and postcolonial eras. It considers the constantly shifting balance of power between different groups in Algeria and how these have been used to re-fashion colonial relationships. Turning to the postcolonial period, the book explores the challenges Algerians have faced as they have sought to forge an identity as an independent postcolonial nation and how has this process been represented. The roles played by memory and forgetting are highlighted as part of the ongoing efforts by both Algeria and France to grapple with the complex legacies of their prolonged and tumultuous relationship. This interdisciplinary volume sheds light on these and other issues, offering new insights into the history, politics, society and culture of modern Algeria and its historical relationship with France.

North African immigrants, once confined to France’s social and cultural margins, have become a strong presence in France’s national life. Similarly, descendants of immigrants from Morocco, Algeria, and Tunisia have gained mainstream recognition as filmmakers and as the subject of films. The first collective volume on this topic, Screening Integration offers a sustained critical analysis of this cinema. In particular, contributors evaluate how Maghrebi films have come to participate in, promote, and, at the same time, critique France’s integration. In the process, these essays reflect on the conditions that allowed for the burgeoning of this cinema in the first place, as well as on the social changes the films delineate. Screening Integration brings together established scholars in the fields of postcolonial, Francophone, and film studies to address the latest developments in this cinematic production. These authors explore the emergence of various genres that recast the sometimes fossilized idea of ethnic difference. Screening Integration provides a much-needed reference for those interested in comprehending the complex shifts in twenty-first-century French cinema and in the multicultural social formations that have become an integral part of contemporary France in the new millennium.