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, and when Algeria is celebrating 50 years of independence, Algerian National Cinema presents a dynamic, detailed and up to date analysis of how film has represented the complex identities of this often misunderstood nation. Rooted in a thorough understanding of Algerian society, politics and culture, Algerian National Cinema explores key films from The Battle of Algiers (1966) to Mascarades (2007). Introductions to Algerian history and to the development of a national film industry are followed by chapters on the essential genres and themes of filmmaking in Algeria from the 1960s to the present day, including: --films of anti-colonial struggle --representations of gender --Berber cinema --filming the 'black decade' of the 1990s --cinema of resistance and revolt --film and memory 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 in anti-colonial, postcolonial and neo-colonial contexts. By the author of the critically-acclaimed Contemporary French Cinema.

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.

The book examines the war of images between France and Algeria. Discussing the role of the United States during the war, it covers topics such the presence of American reporters in Algeria, John F. Kennedy’s support for Algerian independence while a senator, the broadcasting of documentaries on the Algerian war on public television, and reporting in the press. Even half a century after Algerian independence, there remains a need for both film and literature on the war from both sides of the Mediterranean. This might seem surprising, particularly to media professionals, given the quantity of output on the subject, but both French and Algerian portrayals of the war remain flawed and shackled to their respective ideologies. The generation of FLN leaders recognized early on the importance of images, and established a clandestine film structure that would bring the Algerian cause to the world stage. The book offers an insightful and timely contribution not just to the field of North African studies but also to other disciplines, such as film and media studies, anthropology, history, journalism, and political science. Providing a rich source of research topics and viable ideas for film and documentary projects, it is a must-read for students, scholars and media professionals alike.

A fascinating portrait of life with the Black Panthers in Algiers: a story of liberation and radical politics Following the Algerian war for independence and the defeat of France in 1962, Algiers became the liberation capital of the Third World. Elaine Mokhtefi, a young American woman immersed in the struggle and working with leaders of the Algerian Revolution, found a home here. A journalist and translator, she lived among guerrillas, revolutionaries, exiles, and visionaries, witnessing historical political formations and present at the filming of The Battle of Algiers. Mokhtefi crossed paths with some of the era’s brightest stars: Frantz Fanon, Stokely Carmichael, Timothy Leary, Ahmed Ben Bella, Jomo Kenyatta, and Eldridge Cleaver. She was instrumental in the establishment of the International Section of the Black Panther Party in Algiers and close at hand as the group became involved in intrigue, murder, and international hijackings. She traveled with the Panthers and organized Cleaver’s clandestine departure for France. Algiers, Third World Capital is an unforgettable story of an era of passion and promise.

Exploring films made in Tunisia, Morocco, and Algeria from 1985 to 2009, Suzanne Gauch illustrates how late post-independence and early twenty-first century North African cinema prefigured many of the transformations in perception and relation that stunned both participants and onlookers during the remarkable uprisings of the 2011 Arab Spring. Through multifaceted examinations of key films by nine filmmakers--Farida Benlyazid, Mohamed Chouikh, Nacer Khemir, Nabil Ayouch, Ly s Salem, Nadia El Fani, Tariq Teguia, Faouzi Bensa di, and Nejib Belkadhi--Gauch delineates the shifting relation of politics to film in the era of neoliberal globalization. Each work, she argues, taps the power inherent in cinema to destabilize patterns of perception and judgment while taking film's role as popular entertainment in new directions. Highlighting how each film taps into the mobility at the core of cinema to break through the boundaries that have long circumscribed filmmaking from North Africa, Gauch shows how this cinema continues to forge and reflect unexpected trajectories for itself and its audiences.

The book examines the war of images between France and Algeria. Discussing the role of the United States during the war, it covers topics such the presence of American reporters in Algeria, John F. Kennedy’s support for Algerian independence while a senator, the broadcasting of documentaries on the Algerian war on public television, and reporting in the press. Even half a century after Algerian independence, there remains a need for both film and literature on the war from both sides of the Mediterranean. This might seem surprising, particularly to media professionals, given the quantity of output on the subject, but both French and Algerian portrayals of the war remain flawed and shackled to their respective ideologies. The generation of FLN leaders recognized early on the importance of images, and established a clandestine film structure that would bring the Algerian cause to the world stage. The book offers an insightful and timely contribution not just to the field of North African studies but also to other disciplines, such as film and media studies, anthropology, history, journalism, and political science. Providing a rich source of research topics and viable ideas for film and documentary projects, it is a must-read for students, scholars and media professionals alike.

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 traces the development of investigative cinema, whose main characteristic lies in reconstructing actual events, political crises, and conspiracies. These documentary-like films refrain from a simplistic reconstruction of historical events and are mainly concerned with what does not immediately appear on the surface of events. Consequently, they raise questions about the nature of the “truth” promoted by institutions, newspapers, and media reports. By highlighting unanswered questions, they leave us with a lack of clarity, and the questioning of documentation becomes the actual narrative. Investigative cinema is examined in relation to the historical conjunctures of the “economic miracle” in Italy, the simultaneous decolonization and reordering of culture in France, the waves of globalization and neoliberalism in post-dictatorial Latin America, and the post-Watergate, post-9/11 climate in US society. Investigative cinema is exemplified by the films Salvatore Giuliano, The Battle of Algiers, The Parallax View, Gomorrah, Zero Dark Thirty, and Citizenfour.

Examined within their economic, cultural, and political context, the work of women Maghrebi filmmakers forms a cohesive body of work. Florence Martin examines the intersections of nation and gender in seven films, showing how directors turn around the politics of the gaze as they play with the various meanings of the Arabic term hijab (veil, curtain, screen). Martin analyzes these films on their own theoretical terms, developing the notion of "transvergence" to examine how Maghrebi women's cinema is flexible, playful, and transgressive in its themes, aesthetics, narratives, and modes of address. These are distinctive films that traverse multiple cultures, both borrowing from and resisting the discourses these cultures propose.