The author, Ahmed Bedjaoui, has accomplished a great representation of Cinema and the Algerian War of Independence unveiling three aspects:political, social and cultural. The liberation war and its origins have left an indelible imprint on modern Algerian history and a lasting impact on the former colonial power. In his work, composed of nine chapters, Bedjaoui explains that even fifty years later, this pivotal chapter remains a contentious subject in terms of its portrayal, not only in the relationship between the former occupiers and Algerians but also within the Algerian community itself.
The work presents a prevalent depiction of the liberation war as predominantly rural obscured the early and critical involvement of the urban elite in the national movement. Nevertheless, urban centers played a crucial role in securing significant political victories. This was evident, firstly, through major public demonstrations in Algerian towns in December 1960 and within the emigrant population in 1961. Additionally, urban political leaders, by effectively internationalizing the conflict, contributed to the triumph of the political struggle against the colonial power. Interestingly, among the younger generation of filmmakers, there is a noticeable return to urban settings, even in their depictions of the liberation war.
The use of the title “Battle of Algiers” exemplifies how the Algerian officers, still reeling from the Indochinese defeat, primarily fixated on their yearning for military retribution, inadvertently sidelining the significance of political engagement. In this regard, the of Bedjaoui work infers the Algerians and their leaders decisively prevailed. According to his research, the period following the independence, most of scripts depicting revolutionary episodes drew inspiration from individual recollections. However, he explains, it does not diminish the importance of incorporating historical expertise.
He explicate that after six decades, the Algerian liberation war continues to evoke diverse and personal interpretations. Despite such a relatively long period of time, the historical events that shaped Algeria's relationship with France remain vivid. Most Algerians today were born after gaining independence, while the senior officers of the French army from that era have largely passed away. One must confess the French colons’ use of horrific and brutal repression methods drew attention to the resurgence of memories. This war of liberation has spurred a surge in audiovisual productions in both nations.
Now, two generations later, 60 years after the independence of Algeria, there is a keen sense of the importance of preserving and acknowledging these memories. During Algeria's fiftieth anniversary of independence celebrations, there was a strong call for a critical reexamination of history. Algerian cinema played an important role during and after the liberation war, while French cinema remained hesitant due to censorship and self-censorship. This increased interest was not without underlying motives and was marked by a subtle semantic conflict that underscored the differing approaches taken.
The contrast in terminology provides a striking insight into the clash of visual concepts and creative realms between the two opposing parties. It serves as a reminder that the history of colonization and subsequent decolonization was marked by a conflict conducted through the medium of imagery. During the colonial invasion, the colonial power utilized artistic depictions to support its military campaign against Algeria and its institutions. The battle of images, in fact, commenced in 1830 when “the art of the conquest loudly proclaimed annexation,” as Dominique Legrand eloquently described it. For the Algerians, the national movement coincided with the emergence of a robust national culture distinct from that of the occupiers. The emergence of Algerian great writers and artists captured hearts and minds with images of the struggle.
With the introduction of cinematography, Algeria gained recognition as a prime location for early filmmakers. However, these productions predominantly focused on capturing the region's unique lighting, notably lacking representation of Algerians. The General Government promptly harnessed cinema as a propaganda tool for psychological operations, aiming to influence isolated native populations. Despite this, the colonial system's efforts to establish a widespread network of cinemas primarily benefited Algerians concurrently, as they developed a strong cinema culture through regular attendance. It wasn't until shortly before the commencement of the armed struggle that the first films created by Algerians appeared.
As a matter of fact, the leaders of the National Liberation Front recognized the importance of visual imagery in the media war conducted parallel to the military conflict. The National Liberation Army and later the Provisory Government of the Algerian Republic established cinema services led by figures like Djamel Chanderli, alongside Algerians and foreign filmmakers sympathetic to the Algerian cause.
Lastly, this work does not aim to be a historical treatise but rather a narrative and viewpoint on the myriad filmed depictions inspired by the liberation war, in Algeria and elsewhere. He mostly emphasises the importance of learning from history not to repeat the same mistakes by working on bringing back the past through images and confronting the memories. The author also ponders if one has adequately addressed the events in Algeria, even after fifty years. If not, it is the Algerian’s duty to take action regarding the cinema on the liberation war.
Ahlem FIDOUH
