Nicole Beth Wallenbrock – författare

The Franco-Algerian War (1954–62) remains a powerful international symbol of Third Worldism and the finality of Empire. Through its nuanced analysis of the war’s depiction in film, The Franco-Algerian War through a Twenty-First Century Lens locates an international reckoning with history that both condemns and exonerates past generations.Algerian and French production partnerships—such as Hors-la-loi, (Outside the Law, Rachid Bouchareb, 2010) and Loubia Hamra (Bloody Beans, Narimane Mari, 2013)—are one of several ways citizens collaborate to unearth a shared history and its legacy. Nicole Beth Wallenbrock probes cinematic discourse to shed new light on topics including: the media revelation of torture and atomic bomb tests; immigration’s role in the evolution of the war’s meaning; and the complex relationship of the intertwined film cultures. The first chapter summarizes the Franco-Algerian War in 20th-century film, thus grounding subsequent queries with Algeria’s moudjahid or freedom-fighter films and the French new wave’s perceived disinterest in the conflict.This book is an invaluable resource for scholars seeking to understand cinema’s role in re-evaluating war and reconstructing international memory.

The Franco-Algerian War (1954–62) remains a powerful international symbol of Third Worldism and the finality of Empire. Through its nuanced analysis of the war’s depiction in film, The Franco-Algerian War through a Twenty-First Century Lens locates an international reckoning with history that both condemns and exonerates past generations.Algerian and French production partnerships—such as Hors-la-loi, (Outside the Law, Rachid Bouchareb, 2010) and Loubia Hamra (Bloody Beans, Narimane Mari, 2013)—are one of several ways citizens collaborate to unearth a shared history and its legacy. Nicole Beth Wallenbrock probes cinematic discourse to shed new light on topics including: the media revelation of torture and atomic bomb tests; immigration’s role in the evolution of the war’s meaning; and the complex relationship of the intertwined film cultures. The first chapter summarizes the Franco-Algerian War in 20th-century film, thus grounding subsequent queries with Algeria’s moudjahid or freedom-fighter films and the French new wave’s perceived disinterest in the conflict.This book is an invaluable resource for scholars seeking to understand cinema’s role in re-evaluating war and reconstructing international memory.

Presenting the depiction of migration through a variety of cinematic outlets, this volume explores film's depiction of human displacement in different geographic circumstances and probes the reasons why cinema so frequently evokes a stereotype of in-transit people. Techniques of affect and distance are revealed in the contributors' close film studies of wide-ranging matter which include works by the Dardenne brothers, transnational video artists Ghazel and Bouchra Khalili, and studies of Syrian films at Western festivals. Migrants' Perspective, Migrants in Perspective: World Cinema deciphers the semiotics of migration and its representation in cinema, exploring both the complications of shooting a migrant subject, and the challenges of including the migrants' point of view.