Rossellini,Pontecorvo, and the neorealist cinema of insurgency

This article examines the tradition of Italian neorealism and the importance it has for films depicting guerrilla insurgencies. It looks in particular at the two films by Roberto Rossellini Rome Open City and Paisa as well as the later film by Nanni Loy Four Days in Naples. It then proceeds to locate Gillo Pontecorvo's iconic film The Battle of Algiers within this neorealist tradition and examines the degree to which the director succeeded in continuing the basic traditions of neorealism into the context of the Algerian war of Independence. The article concludes that while this film remains of great interest it should be situated in the period when it was produced and is in many ways radically disconnected from many insurgent movements of the present day.     

Squad leaders today,village leaders tomorrow: Muslim auxiliaries and tactical politics in Algeria, 1956–1962

From 1956 to 1960, the French Army developed a force of Muslim auxiliaries (supplétifs) as a major component of its strategy to combat the National Liberation Front (FLN) insurgency in Algeria. Aside from their military utility in hunting down the guerrillas in the mountains and forests, the supplétifs were instrumental in undermining FLN legitimacy in the countryside. The rapid growth and employment of the supplétif force dismantled FLN political control in the villages, undermined the enemy's unity, and critically weakened the revolutionaries' claim to represent all of Algeria's Muslims. The military and political activities of France's Muslim soldiers also projected an image of Muslim–European unity behind the French cause, and portrayed the French Army as the only legitimate political force in numerous villages. These political successes, however, were limited to the local, tactical level of revolutionary warfare, and the Army was never able to convert the supplétifs into a force of decisive, strategic political significance. They thus had little ultimate impact on the outcome of the conflict.