A Semiotic Analysis of the Battle Fo Algiers
A Semiotic Analysis of The Battle of Algiers
The Battle of Algiers, which was produced in 1966 and directed by Gillo Pontecorvo, is a film which explores the Algerian struggle for independence between 1954 and 1962. The film is constructed using a documentary style and was filmed on the actual locations where events unfolded. The Battle of Algiers is an example of neorealist filmmaking which purports to give an objective, realistic account of the battles waged between the FLN (National Liberation Front) rebels and the French military. The formal elements of style which create the narrative can be examined using semiotic theory in order to better understand how the viewer can be interpellated into particular ideological positions. Interestingly, the ideal viewing position is not easily recognisable, which is why the film works well in striking a balance in presenting the points of views of combating sides. Semiotics refers to the study of and meaning created by ‘signs’, which are composed of ‘signifiers’ and their ‘signifieds’. Semiotic systems are culturally contingent; they appeal to and are informed by ideology (O’sullivan, Hartley, Saunders, Montgomery & Fiske, 2004). Therefore, it may be significant to note that The Battle of Algiers is essentially a European production as the “key creative positions in the production of the film were occupied by Italians” (Wayne, 2001, p.9). With this in mind, it would appear that the characterisations which are constructed through the combination of formal filmic conventions can be seen to position the viewer into considering the futility of continued political control over a colonised state, regardless of the viewer’s ideological point of view.
Ostensibly, the characterisations of the combatants from the FLN and the French military are polarised opposites. The FLN rebels are less organised, poorly funded, less literate and rely on deception and terror to further their cause. Opposed to this, the French
The Battle of Algiers, which was produced in 1966 and directed by Gillo Pontecorvo, is a film which explores the Algerian struggle for independence between 1954 and 1962. The film is constructed using a documentary style and was filmed on the actual locations where events unfolded. The Battle of Algiers is an example of neorealist filmmaking which purports to give an objective, realistic account of the battles waged between the FLN (National Liberation Front) rebels and the French military. The formal elements of style which create the narrative can be examined using semiotic theory in order to better understand how the viewer can be interpellated into particular ideological positions. Interestingly, the ideal viewing position is not easily recognisable, which is why the film works well in striking a balance in presenting the points of views of combating sides. Semiotics refers to the study of and meaning created by ‘signs’, which are composed of ‘signifiers’ and their ‘signifieds’. Semiotic systems are culturally contingent; they appeal to and are informed by ideology (O’sullivan, Hartley, Saunders, Montgomery & Fiske, 2004). Therefore, it may be significant to note that The Battle of Algiers is essentially a European production as the “key creative positions in the production of the film were occupied by Italians” (Wayne, 2001, p.9). With this in mind, it would appear that the characterisations which are constructed through the combination of formal filmic conventions can be seen to position the viewer into considering the futility of continued political control over a colonised state, regardless of the viewer’s ideological point of view.
Ostensibly, the characterisations of the combatants from the FLN and the French military are polarised opposites. The FLN rebels are less organised, poorly funded, less literate and rely on deception and terror to further their cause. Opposed to this, the French
References: Odeh, O. (2004). ‘Punishment parks.’ Bright lights film journal. Retrieved May 20, 2009, from http://www.brightlightsfilm.com/46/algiers.htm. O’Sullivan, T., Hartley, J., Saunders, D., Montgomery, M., & Fiske, J. (1994). Key concepts in communication and cultural studies (2nd ed.). London: Routledge. Pontecorvo, G. (Director). (1966). The battle of Algiers [Motion Picture] Algier/Italy. Wayne, M. (2001). Political film: the dialectics of third cinema. London: Pluto Press.