By Michael F. O'Riley
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Additional resources for Cinema in an Age of Terror: North Africa, Victimization, and Colonial History
Sample text
To express political views usually anathema to the dominant media. For the First World mass media, terrorism means only freelance or infrastate violence . . 5 While it is easy to agree with Stam and Spence that cinematic identification does take place through spectatorial positioning, such identifications as seen in reportage about the film (particularly from the Pentagon) seem to take place as identifications with Algerians as enemies. Such a positioning propagates the “clash of civilizations,” 28 RESUSCITATI NG THE BATTLE OF ALGI ERS establishing an identification directly related to the conflict in Iraq as Western world versus Arab, or Orient.
S. officials, in identifying with the surveillance, torture, and victimization depicted in Pontecorvo’s film, would have imagined the limited reach of Western democracy that the existence of Pontecorvo’s liberationist narrative ultimately underscores some forty years later. S. occupation of Iraq. 14 The Pentagon screening of Pontecorvo’s work demonstrates that given the new imperialist appropriation of postcolonial texts, it may very well prove to be more effective to see anticolonial works of resistance as indicative of the ways that the victimization highlighted in them engenders a struggle to assume the victim’s position rather than to see them as works of imperialist resistance with direct currency today.
While never characterizing the French, the film exposes the oppressive logic of colonialism and consistently fosters our complicity with the Algerians. It is through Algerian eyes, for instance, that we witness a condemned Algerian’s walk to his execution. It is from within the casbah that we see and hear the French troops and helicopters. This time it is the colonized who are encircled and menaced and with whom we identify. (244) Of course Stam and Spence interpret the film from a positioned perspective that shares the same political consciousness of decolonization 38 RESUSCITATI NG THE BATTLE OF ALGI ERS they identify in Pontecorvo’s film.