这部电影如何超过了四年前的《萨尔瓦托·朱利亚诺》？罗西的作品，我们可以说，精美而有历史意义，但仍然是一部五十年代电影，几乎一部新现实主义电影；这一部，——如同更早时古巴的《低度开发的回忆》（很可能还受其影响）——找到了当代的节奏和风格，使科斯塔—加夫华等人得以迅速跟进。T.S.艾略特评论斯温伯恩的诗歌时提到语言自身成为客体的情况：他否定了这种看似空洞的风格；然而半个世纪后我们逐渐知道，对于一个艺术品自身的系统（而非我们自己）而言
1.The documentary style inherited from Italian Neu-Realism. The LS of street view looks like “Bicycle Thieves”. 2. However, the close-ups in this film are very remarkable. They were used for depicting the heros of this battle frequently. Additionally, it is also a regular way to highlight the leading role in propagandistic films. 3. The storytelling is also very attractive. In the beginning sequence, it narrated from the end of the story, which means the story started from the end of plot. The hollywood movie Sunset Boulevard(1950) also used this method of narration.
Compartmentalization and Violence
“The colonized world is a compartmentalized world.”(Fanon, 3) This statement rings as a precursor to the decolonized world we live in today. As we proudly stress that the age we live in is characterized by globalization, compartmentalization sounds foreign to us. Yet it dominated the global landscape just a few decades ago, causing seismic waves throughout the colonized world and changed the world as we know it.
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La battaglia di Algeri (1966)
前几天刚刚感叹完IMDB250里什么类型的片子都有，就看到了这部半纪录片似地电影。现在对我来说，这已经不会让我意外了。
电影记录了上个世纪五十年代阿尔及利亚民族解放阵线与法国统治者在阿尔及尔的斗争。电影具有半纪录片的性质，所以影片的情节并不完整，主要情节就是双方的对抗。一方面是民族解放阵线的恐怖袭击、领导人之间的策划以及普通民众的支持，一方面是法国警察被袭、法国军队策略的制订以及对民族解放阵线的抓捕。影片中，民族解放阵线暗杀、袭击各处的警察，在各个欧洲人的居住区制造爆炸，法国人则采取各种手段镇压阿尔及尔的各种罢工、游行。最后，在法国军队的介入下，民族解放阵线终于被瓦解，主要人物也都被消灭。但是，度过了平静的两年后，独立运动又从阿尔及利亚全境张开。在阿尔及利亚人民不懈的努力下，阿尔及利亚于1962年独立。
这部电影和有故事内容的电影不同，没有精彩的情节
《阿尔及尔之战》1966年，短评写不下的逼逼
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