Rethinking Algerian Visibility and Invisibility in Ali au Pays des Merveilles

This article examines Djouhra Abouda and Alain Bonnamy’s experimental documentary Ali au pays des merveilles (1975) and discusses how the filmmakers expose Algerian workers’ living conditions in the 1970s France, a promised land where racism and exclusion persist. This study analyses the visibility...

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Main Author: Chengxi Li
Format: Article
Language:English
Published: University of Edinburgh 2022-09-01
Series:Forum
Online Access:http://journals.ed.ac.uk/forum/article/view/7449
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author Chengxi Li
author_facet Chengxi Li
author_sort Chengxi Li
collection DOAJ
description This article examines Djouhra Abouda and Alain Bonnamy’s experimental documentary Ali au pays des merveilles (1975) and discusses how the filmmakers expose Algerian workers’ living conditions in the 1970s France, a promised land where racism and exclusion persist. This study analyses the visibility and invisibility of the Algerian labour by first discussing the exclusion of Algerian migrants on the basis of their racial identity and their social status, in light of thinking related to French republican identification. The author then examines the interrelations between the Algerian labour and the commodities produced by their labour, as well as the glamorous spectacle associated with the commodities. Finally, the article reflects on the reflexive archaeology of the image that questions the power and limits of archives, interrogating the entanglements of French colonial history in Algeria. The article argues that Abouda and Bonnamy’s stylistic devices are in line with those of the Third Cinema, providing an alternative that allows post-colonial sensibilities to challenge the official discourse and the self-claiming “universal” but indeed Eurocentric aesthetics.
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spelling doaj.art-2f7352b1f0b64ef0bd1fdb8efc0315582022-12-22T16:20:00ZengUniversity of EdinburghForum1749-97712022-09-013310.2218/forum.33.74497449Rethinking Algerian Visibility and Invisibility in Ali au Pays des MerveillesChengxi LiThis article examines Djouhra Abouda and Alain Bonnamy’s experimental documentary Ali au pays des merveilles (1975) and discusses how the filmmakers expose Algerian workers’ living conditions in the 1970s France, a promised land where racism and exclusion persist. This study analyses the visibility and invisibility of the Algerian labour by first discussing the exclusion of Algerian migrants on the basis of their racial identity and their social status, in light of thinking related to French republican identification. The author then examines the interrelations between the Algerian labour and the commodities produced by their labour, as well as the glamorous spectacle associated with the commodities. Finally, the article reflects on the reflexive archaeology of the image that questions the power and limits of archives, interrogating the entanglements of French colonial history in Algeria. The article argues that Abouda and Bonnamy’s stylistic devices are in line with those of the Third Cinema, providing an alternative that allows post-colonial sensibilities to challenge the official discourse and the self-claiming “universal” but indeed Eurocentric aesthetics.http://journals.ed.ac.uk/forum/article/view/7449
spellingShingle Chengxi Li
Rethinking Algerian Visibility and Invisibility in Ali au Pays des Merveilles
Forum
title Rethinking Algerian Visibility and Invisibility in Ali au Pays des Merveilles
title_full Rethinking Algerian Visibility and Invisibility in Ali au Pays des Merveilles
title_fullStr Rethinking Algerian Visibility and Invisibility in Ali au Pays des Merveilles
title_full_unstemmed Rethinking Algerian Visibility and Invisibility in Ali au Pays des Merveilles
title_short Rethinking Algerian Visibility and Invisibility in Ali au Pays des Merveilles
title_sort rethinking algerian visibility and invisibility in ali au pays des merveilles
url http://journals.ed.ac.uk/forum/article/view/7449
work_keys_str_mv AT chengxili rethinkingalgerianvisibilityandinvisibilityinaliaupaysdesmerveilles