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Cinema in an Age of Terror
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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.

Table of Contents

  1. Cover
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  1. Frontmatter
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  1. Title Page
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  1. Copyright Page
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  1. Table of Contents
  2. p. v
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  1. Acknowledgments
  2. p. vii
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  1. Introduction
  2. pp. 1-21
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  1. 1. Resuscitating The Battle of Algiers: The Politics of Race in the War on Iraq
  2. pp. 22-48
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  1. 2. Mapping National Identity and Unrealized Union: Rachid Boucha reb’s Indigènes
  2. pp. 49-78
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  1. 3. Hidden Maps of Victimization: The Haunting Key to ColonialVictimization in Caché
  2. pp. 79-100
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  1. 4. Creating an Old Maghreb: Beur Cinema and East-West Polarities
  2. pp. 101-127
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  1. 5. Colonial Cinema and the Aesthetics of Postcolonial Victimization: Pépé le Moko and Assia Djebar’s La Disparition de la langue française
  2. pp. 128-152
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  1. Conclusion
  2. pp. 153-159
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  1. Notes
  2. pp. 161-180
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  1. Works Cited
  2. pp. 181-189
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  1. Index
  2. pp. 191-198
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