Filmguide To The Battle Of Algiers

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.

"Historical overview of terrorism and how it has been depicted in the media, especially films and television. In turn, these depictions have shaped terrorist tactics, and public reaction to terrorism"--Provided by publisher.

This excellent book corrects eurocentric criticism from media studies in the past by examining Hollywood movie genres such as the western and the musical from a multicultural perspective.

"Blends a discussion of terror with radical democracy in a way that is thoroughly original ... an important book on a large and crucial topic."--Marc Redfield, Claremont Graduate University.

Italian filmmaker Gillo Pontecorvo is best known for his films about anti-colonial insurgency and terrorism. In this book, containing several black and white photos, author Carlo Celli examines Pontecorvo's entire career, from his days as a leader in the anti-Nazi/fascist resistance during World War II to his 1992 short documentary about Algeria's struggle with Islamic fundamentalism. This is the first book-length study in English of Pontecorvo's entire career, and features in-depth examinations and re-readings of his major films Kap (1959), The Battle of Algiers (1965), Burn (1969), and Ogro (1979). The book also addresses Pontecorvo's largely unknown early documentaries and features, such as Giovanna (1956) and The Wide Blue Road (1957). Celli concludes with an examination of the documentary films that Pontecorvo made in the 1990s including Return to Algiers (1992). This work will be of interest to academics and students of film, but it will also have an appeal to readers concerned with issues regarding the political use of violence in the 20th century--whether it be defined as terrorism, counter-insurgency, or freedom fighting.