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The Algerian war and the ‘emancipation’ of Muslim women, 1954–62
Author: Neil Macmaster

In May 1958, and four years into the Algerian War of Independence, a revolt again appropriated the revolutionary and republican symbolism of the French Revolution by seizing power through a Committee of Public Safety. This book explores why a repressive colonial system that had for over a century maintained the material and intellectual backwardness of Algerian women now turned to an extensive programme of 'emancipation'. After a brief background sketch of the situation of Algerian women during the post-war decade, it discusses the various factors contributed to the emergence of the first significant women's organisations in the main urban centres. It was only after the outbreak of the rebellion in 1954 and the arrival of many hundreds of wives of army officers that the model of female interventionism became dramatically activated. The French military intervention in Algeria during 1954-1962 derived its force from the Orientalist current in European colonialism and also seemed to foreshadow the revival of global Islamophobia after 1979 and the eventual moves to 'liberate' Muslim societies by US-led neo-imperialism in Afghanistan and Iraq. For the women of Bordj Okhriss, as throughout Algeria, the French army represented a dangerous and powerful force associated with mass destruction, brutality and rape. The central contradiction facing the mobile socio-medical teams teams was how to gain the trust of Algerian women and to bring them social progress and emancipation when they themselves were part of an army that had destroyed their villages and driven them into refugee camps.

From Le Thé à la menthe to La Fille de Keltoum
Carrie Tarr

The beur and banlieue films discussed in previous chapters have been the work of either beur or white French filmmakers. However, the book would not be complete without a consideration of how difference has been reframed by Algerian filmmakers working in France. 2 The transnational status of such filmmakers makes their work particularly difficult to categorise. The 2003 film season ‘Hommage aux cinéastes algériens’, held at the

in Reframing difference
Imagining the future Algeria
Allison Drew

‘Today’s children don’t go to class. They are writing the history of a free Algeria,’ wrote Zhor Zerari of the December 1960 demonstrations that propelled negotiations forward. 1 A week after the January 1961 referendum the GPRA signalled its readiness to negotiate. Algerian cities saw more demonstrations, but negotiations shifted the political momentum back to the French

in We are no longer in France
Natalya Vince

4 Embodying the nation Women, walls and the boundaries of the nation Zhor Zerari was one of the first female journalists in independent Algeria. Having honed her writing talents composing poetry in prison, the former member of the Algiers bomb network wrote for the daily Al Chaab / Le Peuple from its creation in 1962, later contributing to Alger ce soir and the weekly Algérie actualité. In summer 1962, delegates were meeting in Algiers to discuss cleaning the walls of the capital city, which were covered with wartime graffiti. Whilst hastily painted expressions

in Our fighting sisters
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From lost sites to reclaimed images
Guy Austin

Case studies: Viva Laldjérie (Nadir Mokneche, 2004), Délice Paloma (Nadir Mokneche, 2007), La Maison jaune (Amor Hakkar, 2007) A loss of identity and a sense of dispossession are two related and painful threads that run through modern Algerian history. They can be

in Algerian national cinema

The issue of ethnicity in France, and how ethnicities are represented there visually, remains one of the most important and polemical aspects of French post-colonial politics and society. This is the first book to analyse how a range of different ethnicities have been represented across contemporary French visual culture. Via a wide series of case studies – from the worldwide hit film Amélie to France’s popular TV series Plus belle la vie – it probes how ethnicities have been represented across different media, including film, photography, television and the visual arts. Four chapters examine distinct areas of particular importance: national identity, people of Algerian heritage, Jewishness and France’s second city Marseille.

Mourning and melancholia
Guy Austin

Case studies: Youcef (Mohamed Chouikh, 1993), Bab El-Oued City (Merzak Allouache, 1994), Rome plutôt que vous (Tariq Teguia, 2006). The events of October 1988 form a watershed in recent Algerian history. Known as Black October, this was the moment when popular trust in the state, eroded for years

in Algerian national cinema
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Algeria’s failed process of democratisation
Francesco Cavatorta

1 Introduction: Algeria’s failed process of democratisation Algeria’s failed transition In October 1988 Algeria experienced a seemingly sudden explosion of street violence triggered by economic and social discontent. People protested against the economic reforms the government had introduced and for a few days chaos reigned in the country. These riots were to be a turning point because they provided the opportunity for President Chadli and for the soft-liners within the regime to introduce significant political reforms resulting in an attempt to turn the country

in The international dimension of the failed Algerian transition
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Tradition and taboo
Guy Austin

Case studies: Omar Gatlato (Merzak Allouache, 1976), La Nouba des femmes du Mont Chenoua (Assia Djebar, 1978), La Citadelle (Mohamed Chouikh, 1988) Gender is one of the most vexed questions in modern Algeria and has been approached in diverse films of different genres

in Algerian national cinema
Napoléon III and Eugénie in Algeria and beyond
Robert Aldrich

‘The visit of a Sovereign is always a great favour. That of Your Majesty is more than a favour, it is an act of generosity, and gratefulness is one of the Algerian virtues’, intoned the mayor of Algiers, in presenting the keys of the city to Emperor Napoléon III when he landed in the North African port on 3 May 1865. 1 It was the emperor’s second and more substantial visit to France’s most significant overseas territory

in Royals on tour