Abstract
This analysis applies theories of recognition explicated by Frantz Fanon, Nancy Fraser, and Pierre Bourdieu towards the semiotic analysis of Le Joli Mai (1963), The Battle of Algiers (1966), and La Haine (1995). This article argues that embodied affective histories (constituting the habitus) seek to be validated and recognised at the level of the individual, the collective group identity, and the nation-state. The films analysed constitute attempts at recognition within the global Bourdieusian field of cinema through means of semiotic communication. In doing so, this project hopes to analyse film from a social action perspective, focusing on the effects of the film with audience interaction in mind, and how toexplain the role audiences and publics have within the conceptualisation and execution of semiotic communication within the context of a postcolonial film.
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