History lays a blueprint for ideological, both implicit and explicit, films. Director Gillo Pontecorvo, in The Battle of Algiers (1966), interprets French colonialism in Algeria via the revolutionary actions of the Front de Libération Nationale (FLN) and French military torture and war crimes; in 4 Months, 3 Weeks and 2 Days (2007), Romanian director Cristian Mungiu, examines the effects of communism in satellite states and dictator Nicolae Ceaușescu’s Decree 770, a piece of sweeping anti-abortion legislation. After the United States occupation of Iraq, in 2003, the Pentagon screened The Battle of Algiers. The flyer advertising the screening stated, “How to win a battle against terrorism and lose the war of ideas….The French have a plan. It …show more content…
Ali La Pointe represents the Algerian protagonist, an FLN revolutionary soldier; the French protagonist is Colonel Mathieu, a commander of the occupying forces. Mathieu refuses to contest war crimes against the Algerian citizenry. In a French military maneuver, overseen by Mathieu, La Pointe is executed; therefore, exalted to the status of a martyr. In the 1960s, peaceful protests emerge, and in the accordance to the somber voiceover, “…on July 2, 1962, with its independence, the Algerian nation was …show more content…
M’Hidi, after apprehension by French military authorities, when questioned, at a press conference by a French journalist, about the violent and cowardly tactics of utilizing Algerian women’s baskets for carrying bombs, he responds with a criticism of French involvement in the Vietnam War, “And doesn’t it seem even more cowardly to drop napalm bombs on defenseless villages, so that there are a thousand times more innocent victims? Of course, if we had your airplanes it would be a lot easier for us. Give us your bombers, and you can have our baskets.” This reflects the theme of anti-colonialism, because the French colonized and brutalized Vietnam. Through dialogue, Mathieu, infers retaining military presence in Algeria requires the use of war crimes and/or morally ambiguous military actions, “Should we remain in Algeria? If you answer ‘yes,’ then you must accept all the necessary consequences.” Mathieu continues with a defense against criticisms of the French military and continued occupation by invoking the Holocaust, “We aren’t madmen or sadists….Those who call us Fascists today, forget the contribution that many of us made to the Resistance. Those who call us Nazis, don’t know that among us there are survivors of Dachau and Buchenwald. We are soldiers and our only duty is to win.” As if French crimes in Algeria become obsolete on the basis of individual soldiers prior status
Turse argues that what happened at My Lai was not a one occurring event but one event in a series of event that took place in Vietnam. In his monograph, he talks about the massacre at Trieu
Going After Cacciato, by Tim O'Brien, is a book that presents many problems in understanding. Simply trying to figure out what is real and what is fantasy and where they combine can be quite a strain on the reader. Yet even more clouded and ambiguous are the larger moral questions raised in this book. There are many so-called "war crimes" or atrocities in this book, ranging from killing a water buffalo to fragging the commanding officer. Yet they are dealt with in an almost offhanded way. They seem to become simply the moral landscape upon which a greater drama is played-- i.e. the drama of running away from war, seeking peace in Paris. This journey after Cacciato turns into a morality play, the road Westward metaphor. As Dennis Vannatta explains, "The desire to flee may have begun as a reaction to fear, but by the time the squad has reached Paris, Paul has nurtured and cultivated it until it has become a political, moral, and philosophical statement" (245). But what about the atrocities going on all the time? How could they be ignored in the face of this larger drama? As Milton J. Bates puts it, although Going After Cacciato is "not atrocity-based in the manner of much Vietnam War autobiography and fiction, [it does] record incidents in which Vietnamese civilians are beaten or killed and have their livestock and homes destroyed" (270). This book has an almost offhanded-like way of dealing with these My Lai-like atrocities. Why? What's going on here?
It is 1957 and the Algerian war is at its prime as the FLN fight against an elite troop of ruthless French paratroopers. The Battle of Algiers is a portion of the Algerian war which was fought in order for Algeria to gain independence from France. The film starts off with the torturing of an old man to gain information on where the last of the freedom fighters, Ali Pointe is hiding. A large segment of the film is shot in flashbacks focusing on the past of Ali Pointe. Pointe was a ruffian with theft and drugs on his record; he joined the militants to assist in getting rid of the problems in Algeria associated with the French. With the flashbacks the film tells the struggles of the insurgents and the persistence of the French to end the war. It shows the transformation of the insurgency into a full out revolution. When the flashbacks ends and it is now present time Ali Pointe, along with the rest of the FLN leaders captured are beheaded. Through this, the FLN reciprocate and the insurgency becomes a full on national revolution with growth in numbers and support. The film ends with Algeria gaining the independence it strived for in 1962. The film is important in understanding asymmetric conflicts because despite being the weaker side, Algeria had proved itself to be much stronger than the French and had its newfound independence to show for it.
In this chapter, O’Brien contrasts the lost innocence of a young Vietnamese girl who dances in grief for her slaughtered family with that of scarred, traumatized soldiers, using unique rhetorical devices
Saltau, Mrgaret. "Text Talk: the Wife of Martin Guerre." The Age. 04 May 2006. The
Since its release in 1966, Gillo Pontecorvo's The Battle of Algiers has divided critical opinion. The film which depicts the Algerian struggle for independence, was awarded the Lion d'Or at the 1966 Venice Film Festival and nominated a year later for an Oscar as Best Foreign Film. Despite this acclaim, the inherently controversial film was banned in France until 1971 due to its graphic portrayal of torture and repression during the war. Heavily influenced by the distinctive film style Neorealism, the politically engaged director sought to make a film which was produced and shot within a 'dictatorship of truth.' These neorealist aesthetics (hand-held camera, non professional actors) rendered such an extraordinarily accurate reflection of social reality that the film's original U.S. distributor inserted the disclaimer: "Not one foot of newsreel or documentary film has been used."
The Things They Carried by Tim O'Brien is a captivating recitation in which Tim O'Brien maintains that all the stories featured in the entire book are indeed true stories. Tim is the protagonist as well as the narrator of this particular story and it is the experiences that he had regarding war that have drove him to write the this story. The book gives a clear depiction of the war in Vietnam by showing the horrors of war but there have been varying views regarding the question of whether the book is an antiwar or not. As a result, the purpose of this paper is to address this particular issue by addressing different views in regard to whether the book is an anti-war on not and this will be supported by specific incidences and arguments as featured in The Things They Carried (Kock 45).
The story focuses on her great-grandfather, who was in disapproval of the French occupation of Vietnam, but still excelled at his job as a Mandarin under the puppet imperial court, fearing persecution of his family if he were to resign. In this section, the author also mentions more about the how the values of confusion had influenced the Vietnamese people in attempts to justify her great grandfather’s
Bao Ninh's The Sorrow of War is a contrapuntal reading to American literature on the Vietnam War. But rather than stand in stark contrast to Tim O' Brien's The Things They Carried, The Sorrow of War is strangely similar, yet different at the same time. From a post-colonialist standpoint, one must take in account both works to get an accurate image of the war. The Sorrow of War is an excellent counterpoint because it is truthful. Tim O' Brien writes: ". . . you can tell a true war story by its absolute and uncompromising allegiance to obscenity and evil." (O' Brien, 42) Bao Ninh succeeds in this respect. And it was for this reason that the Vietnamese government initially banned The Sorrow of War. A thorough textual and historical examination of both the war and post-war experience of Vietnam reveals that its experience was similar to, if not worse than, that of America.
The aforementioned scenario is a scene from the movie The Battle of Algiers directed by Gillo Pontecorvo. The Battle of Algiers is a film that depicts the violence of colonialism and decolonization in French Algeria. The Wretched of the Earth is a book written by Frantz Fanon that depicts the same violence. In both sources, both Pontecorvo and Fanon discuss the necessity of violence in decolonization. Although the film and text discusses violence in colonization and decolonization on a different scale and depth.
Dr. Manette is imprisoned in the French Bastille for eighteen years by the cruel French government and unknown to him those many years of pain and suffering serve as a great sacrifice in the eyes of the Revolutionists. He is recalled to life from the time he served when he meets Lu...
The 1950s was not a particularly good decade for France. The Fourth Republic, which had been established in the aftermath of the Second World War, remained unstable and lurched from crisis to crisis. Between 1946 and 1954, there had been a war in French Indo-China, between a nationalist force under Ho Chi Minh and the French. The war was long and bitter and towards the end, the French suffered the ignominy of losing the major fortress of Dien Bien Phu to the guerrillas on 7 May 1954. An armistice was sought with Ho Chi Minh, and the nations of North and South Vietnam emerged from the ashes of the colony. It is entirely likely that the success of the guerrillas influenced the Algerian insurrectionists, the National Liberation Front(FLN), in tactics and in the idea that the time was ripe to strike. It is clear that the FLN employed similar methods to those developed by the nationalists under Ho Chi Minh.1
Daru, the schoolteacher in a remote area of Algeria, is torn between duty and what he believes is the right thing to do when he is suddenly forced in the middle of a situation he does not expect. He must escort an Arabic prisoner to the nearest town. It is not that Daru has much sympathy for the man; in fact, he does not, and actually finds himself disliking the Arab for disrupting so many lives. "Daru felt a sudden wrath against the man, against all men with their rotten spite, their tireless hates, their blood lust." Unfortunately, Daru loves his homeland, and cannot bear to think of leaving, despite the chaos that is raging around him between France and the Algerian natives. I believe that Daru makes the right choice in letting the prisoner choose his own fate. Daru has reaso...
Smitha, Frank E. "French Colonialism and Vietnam to the Massacres of 1908." French Colonialism and Vietnam to the Massacres of 1908. Macro History, 1998. Web. 02 Dec. 2013.
Sometimes reading fiction not only makes us pleasure but also brings many knowledge about history and philosophy of life. ‘The Guest’ by the French writer Albert Camus is a short story and reflects the political situation in French North Africa in 1950s. According to this story, we know the issues between the France and the Arab in Algeria, and the protagonist, Daru, refuses to take sides in the colonial conflict in Algeria. This is not a boring story, because Camus uses a suspenseful way to show the character, conflicts and symbol and irony.