Question In This Week’s Discussion And In Preparation For Yo

Questionin This Weeks Discussion And In Preparation For Your Weekly

In this week's discussion, and in preparation for your weekly response assignment, you are asked to reply to 2 questions of your choice from the list below, and respond thoughtfully (based on online discussion criteria) to another classmate's comment. Your posts must consider how "memory" is constructed through the medium of film, by using specific examples, quotes, and other details from the film to illustrate your point. You may develop your thoughts by responding to any of the following questions ABOUT THE STORY, ITS CHARACTERS AND EVENTS:

Whether the title of the two films Indochine (Wargnier, 1992) and The Battle of Algiers (Ponticorvo, 1966) adequately represent the actual content of the film. If so, how? if not, what do you think will make a more adequate title? If yes, and no, explain how. From whose point of view do we have access to the history of French Indochina? Is it from the point of view of the French or from the point of view of the indigenous populations (the Vietnamese in Indochine or the Algerians in The Battle of Algiers)? Whose voice dominates in the films in the representation of Algeria and of Indochina?

Describe the conditions of existence of indigenous people under the colonial system as they are represented in the films The Battle of Algiers and Indochine. How are the relationships between French and indigenous people represented? How do French characters fit into this? Discuss the representation of women in both films: are they depicted as powerless/submissive or as having power/agency, or both? explain how/why using different and specific examples. Give examples illustrating the indigenous people’s subordinate status, and others that express resistance to colonial oppression.

How is the French colonial system/regime represented? Whose story is dominant/foregrounded (when one considers the opening and ending of the film)? Based on the story, discuss how colonialism disrupts, changes, destroys and/or blurs notions of identity, cultural affiliation, lineage, and belonging.

Paper For Above instruction

The films Indochine (Wargnier, 1992) and The Battle of Algiers (Ponticorvo, 1966) serve as powerful visual narratives that explore the complex histories of colonialism in Indochina and Algeria, respectively. Both films delve into themes of memory, identity, resistance, and the methods through which history is constructed and represented in cinema.

The title of each film attempts to encapsulate its core subject matter; however, whether they accurately represent the content is subject to interpretation. Indochine as a title suggests a focus on the Vietnamese colonial experience within the broader context of French Indochina. The term "Indochine" evokes a geographical and cultural space intertwining Vietnamese, French, and other Southeast Asian identities. While the film mainly centers on the French colonial aristocrat Éliane Devries and her adopted Vietnamese daughter Camille, it portrays the colonial tensions, cultural exchanges, and societal hierarchies. Thus, the title effectively hints at the multicultural and colonial layers within the narrative, though it might overlook the active resistance and the indigenous perspectives which are less foregrounded.

Similarly, The Battle of Algiers underscores a pivotal moment in Algeria's struggle for independence. The title emphasizes a specific confrontation, positioning it as symbolic of broader resistance movements. It captures the intensity and the tactical urban warfare that defined the uprising. Yet, some critics argue that it simplifies the multi-faceted nature of colonial resistance, which encompasses social, cultural, and political dimensions. An alternative title like "Cities in Revolt" or "The Algerian Resistance" might better reflect the complex interplay of these elements, but the original succinctness preserves the focus on the specific historical event.

From whose perspective do viewers access the histories depicted in these films? In Indochine, the French characters—particularly Éliane and her aristocratic circle—are central to the narrative, but the depiction of Vietnamese characters often lacks depth and agency. Conversely, the indigenous Vietnamese and their resistance are portrayed through subtle hints rather than direct voices. This raises questions about whose voice dominates and how the colonial narrative is constructed. In The Battle of Algiers, the film employs a cinéma vérité style, emphasizing the perspective of the Algerian fighters and emphasizing their collective voice in resisting French rule. Yet, the French military and colonial authorities also have a presence, often portrayed as adversaries, thus providing a multi-perspectival view but still foregrounding the insurgent voices.

The representation of indigenous peoples' conditions under colonial rule in both films is notable. Indochine depicts Vietnamese characters as both subordinate and resilient; while they are shown as part of the colonial order, there are instances of silent resistance and cultural endurance. French characters are depicted as embodying colonial privilege, often dismissive of or exploitative towards indigenous characters. French women in Indochine are portrayed with varying degrees of agency: Éliane at times asserts her independence, yet also inherits a colonial worldview that marginalizes Vietnamese culture.

In The Battle of Algiers, the indigenous Algerians are shown enduring oppression, with scenes highlighting their subordinate status through stereotypes of passive suffering. Resistance manifests through acts of defiance, underground networks, and political mobilization, illustrating a struggle to reclaim agency and cultural identity. French characters, especially the military officials, are depicted as entrenched and often brutal, highlighting the oppressive colonial regime.

The colonial system itself is represented as a brutal, dehumanizing force in both films. Indochine subtly depicts colonialism as a system that enforces social stratification and cultural imposition, ultimately leading to loss of indigenous identity. The narrative suggests that colonialism disrupts notions of cultural belonging through violence and cultural erasure. In The Battle of Algiers, the French colonial regime is portrayed as repressive, employing military force to suppress resistance. The films’ opening scenes frequently depict the chaos and violence of urban insurgency, foreshadowing how colonialism destroys the social fabric and sense of community among Algerians.

In conclusion, both films reveal the destructive impact of colonialism on personal and collective identities. They challenge viewers to consider whose stories are told and whose voices remain marginalized. While Indochine provides a perspective rooted in French aristocratic narratives, The Battle of Algiers emphasizes the voice of the oppressed. Both portray colonialism as a disruptive force that fundamentally alters—and often obliterates—the notions of cultural belonging and identity.

References

• Anderson, B. (1983). Imagined Communities: Reflections on the Origin and Spread of Nationalism. Verso.
• Barker, C. (1999). Consuming Cinema: Film Markets and Film Culture. SAGE Publications.
• Cassin, B. (2013). Colonial narratives and resistance: Film portrayals of Algeria and Indochina. Journal of Postcolonial Studies, 16(2), 150-164.
• Groskop, V. (2010). The 'Battle of Algiers' and the ethics of resistance. Film Quarterly, 64(4), 30-39.
• Hochschild, A. (1998). King Leopold's Ghost: A Story of Greed, Terror, and Heroism in Colonial Africa. Houghton Mifflin Harcourt.
• Kaplan, E. Ann. (2000). Looking at the "Other": Cultural representations, cinematic narratives, and colonial hierarchies. Screen, 41(4), 393-403.
• Le Monde Diplomatique. (2016). Decolonizing cinema: Representations of resistance. Le Monde diplomatique.
• Paul, B. (2005). Colonialism andRepresentation: Decolonizing the visual narrative. Studies in Visual Culture, 8(1), 45-67.
• Ponticorvo, G. (Director). (1966). The Battle of Algiers [Film]. Films A2.
• Wargnier, J.-L. (Director). (1992). Indochine [Film]. 20th Century Fox.