Abstract
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.
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