Torture during the Algerian War

The film which depicts the Algerian struggle for independence against French colonial power, was awarded the Lion d'Or at the 1966 Venice Film Festival. Yet, despite this acclaim, the inherently controversial film was banned in France until 1971 due to its graphic portrayal of torture and repression during the Algerian war. The politically engaged director had however sought to make The Battle of Algiers within a 'dictatorship of truth,' neither supporting the Algerians nor reducing his film to propaganda

A Semiotic Analysis of The Battle of Algiers The Battle of Algiers, which was produced in 1966 and directed by Gillo Pontecorvo, is a film which explores the Algerian struggle for independence between 1954 and 1962. The film is constructed using a documentary style and was filmed on the actual locations where events unfolded. The Battle of Algiers is an example of neorealist filmmaking which purports to give an objective, realistic account of the battles waged between the FLN (National Liberation

abundance of violent bloodshed and war as countries fought for their independence from Empires that had ruled them for years. This is especially true for Algeria, a country that had been without independence for over a century. The Battle of Algiers, a 1966 film directed by Gillo Pontecorvo illustrates the struggle that Algerians underwent in an effort to gain independence from France. The film perfectly captures the violence that overtook Algeria during the war for independence. The film displays

where civilians were sought out to be exploited in very violent manners. There were many conflicts that display this form of violence against humans in the twentieth century, but the 3 that stand out and best represent are the Rwandan Genocide, the Algerian War, along with the most horrific display of violence against civilians, the Holocaust. These 3 instances are geographically diverse as well as being 3 completely different forms of violent crimes carried out among civilians. This essay will show not

arrogance of the French allowed insurgents to emerge the victors of the Algerian War of 1954-1962. To understand why this occurred, it is imperative to examine how French military arrogance, political arrogance, and a failure to use military and political capabilities in

Prisoners of War are individuals, whether a soldier or civilians, who are captured as a prisoner during an armed conflict. In the middle ages the modern law was the source relating to the treatment of Prisoners of War. However, today the modern foundation of international law relating to the Treatment of Prisoners is the 1949 Geneva Convention. During the Korean War conflict more than 7,500 Americans were detained by the Chinese Communists with only 3,000 returning home. It has been stated that

Following the end of the Napoleonic Wars, Algeria came under increasing pressure from Western powers, which paved the way for a 132-year French occupation. In 1830, the French monarchy, seeking to distract its discontented subjects, decided to invade Algeria. Abd al-Qadir, a devout Sufi religious and political leader, became a symbol of Algerian independence, as he organized an effective resistance that lasted until 1847. Under French rule, local Algerian economies were disrupted, and Islamic institutions

Gillo Pontecorvo’s ‘The Battle of Algiers’ represents one of the most violent revolts in modern history – The Algerian struggle for independence from 1954 to 1962. More specifically; the year long struggle between the Front de Libération Nationale (FLN) guerilla movement and the French in the capital of Algiers. This conflict seemed to be the birth of urban terrorism tactics that we see used today in many terrorist attacks. The first half of the film shows the tactical and strategic uses of terrorisms

the effects war on a postcolonial world and women’s participation in the struggle for Algerian independence. In order to fight against French colonialism woman were pitted to fight against man. Djebar’s story illustrate three major type of Algerian women in the novel, first women who must overcome Islamic tradition in order to fight for freedom, second women who assimilated with western culture but are alienated from the Arab community, third women who just want to get away from the war and lived a

“civilizing mission”. The French mistreatment of Algerian natives would continue until a violent revolution, beginning in 1954, would eventually expel the French from Algeria, in 1962 (Algeria - FRANCE IN ALGERIA, 1830-1962). The Stranger, written by Albert Camus, and The Meursault Investigation, by Kamel Daoud, are two versions of the French colonial experience in Algeria. Camus’ character, Meursault, is an apathetic, almost emotionless French Algerian and Daoud’s protagonist, Harun, is an angry