Cinema in an Age of Terror: North Africa, Victimization, and Colonial History (France Overseas: Studies in Empire and Decolonization)

__Cinema in an Age of Terror__ looks at how cinematic representations of colonial-era victimization inform our understanding of the contemporary age of terror. By examining works representing colonial history and the dynamics of spectatorship emerging from them, Michael F. O’Riley reveals how the centrality of victimization in certain cinematic representations of colonial history can help us understand how the desire to occupy the victim’s position is a dangerous and blinding drive that frequently plays into the vision of terrorism. Films such as __The Battle of Algiers__, __Days of Glory__, __Caché__, and recent works by Maghrebien filmmakers all exemplify, in different ways, how this focus on victimization can become a problematic perspective—one in fact seeking to occupy ideological territory. Their return of colonial history to our contemporary context, although frequently problematic, enables us to see how victimization is very much about territory—cultural, spatial, and ideological—and how resistance to new forms of imperialist warfare and terror today must be located outside these haunting images from colonial history. Although such images of victimization ultimately only return as spectacular acts that draw our attention away from the cyclical contest over territory that they embody, those images nonetheless have the last word. Michael F. O’Riley is an associate professor of French and Italian at Colorado College. He is the author of Francophone Culture and the Postcolonial Fascination with Ethnic Crimes and Colonial Aura and Postcolonial Haunting and Victimization: Assia Djebar’s New Novels. Cinema In An Age Of Terror Looks At How Cinematic Representations Of Colonial-era Victimization Inform Our Understanding Of The Contemporary Age Of Terror. By Examining Works Representing Colonial History And The Dynamics Of Spectatorship Emerging From Them, Michael F. O'riley Reveals How The Centrality Of Victimization In Certain Cinematic Representations Of Colonial History Can Help Us Understand How The Desire To Occupy The Victim's Position Is A Dangerous And Blinding Drive That Frequently Plays Into The Vision Of Terrorism. Films Such As The Battle Of Algiers, Days Of Glory, Caché, And Recent Works By Maghrebien Filmmakers All Exemplify, In Different Ways, How This Focus On Victimization Can Become A Problematic Perspective - One In Fact Seeking To Occupy Ideological Territory. Their Return Of Colonial History To Our Contemporary Context, Although Frequently Problematic, Enables Us To See How Victimization Is Very Much About Territory - Cultural, Spatial, And Ideological - And How Resistance To New Forms Of Imperialist Warfare And Terror Today Must Be Located Outside These Haunting Images From Colonial History. Although Such Images Of Victimization Ultimately Only Return As Spectacular Acts That Draw Our Attention Away From The Cyclical Contest Over Territory That They Embody, Those Images Nonetheless Have The Last Word.--jacket. Introduction -- Resuscitating The Battle Of Algiers : The Politics Of Race In The War On Iraq -- Mapping National Identity And Unrealized Union : Rachid Bouchareb's Indigènes -- Hidden Maps Of Victimization : The Haunting Key To Colonial Victimization In Caché -- Creating An Old Maghreb : Beur Cinema And East-west Polarities -- Colonial Cinema And The Aesthetics Of Postcolonial Victimization : Pépé Le Moko And Assia Djebar's La Disparition De La Langue Française. Michael F. O'riley. Includes Bibliographical References And Index. Contents 6 Acknowledgments 8 Introduction 10 1. Resuscitating The Battle of Algiers 31 2. Mapping National Identity and Unrealized Union 58 3. Hidden Maps of Victimization 88 4. Creating an Old Maghreb 110 5. Colonial Cinema and the Aesthetics of Postcolonial Victimization 137 Conclusion 162 Notes 170 Works Cited 190 Index 200