This article is a critical reading of the Franco-Algerian filmmaker Rachid Bouchareb’s films and their reception in France, Algeria, and the United States. Whereas Days of Glory, which deals with African soldiers who fought on behalf of France in World War II, was praised for its realism, Outside the Law, taking the form of a gangster film, failed to garner the label of authenticity in its treatment of the Algerian War of Independence. By analyzing the shift from Day of Glory to Outside the Law in the filmic language that characterizes Bouchareb’s style, and the public response to it, Merkel attempts to construct a language of tropes, forms, and contexts that determine the palatability of African art, notably in metropolitan France.
Research Article| May 01 2013
Rachid Bouchareb’s Outside the Law: Aesthetics and Reception in France
Ian Merkel is a PhD student in history and French studies at New York University. While maintaining an interest in decolonization and independence movements in the French Empire, he currently investigates Franco-Brazilian intellectual exchanges in the twentieth century, particularly in regard to anthropology and the Annales.
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Nka (2013) 2013 (32): 62–69.
Ian Merkel; Rachid Bouchareb’s Outside the Law: Aesthetics and Reception in France. Nka 1 May 2013; 2013 (32): 62–69. doi: https://doi.org/10.1215/10757163-2142386
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