Abstract
Benjamin Stora has demonstrated that the current state of remembering the Algerian war is constituted by a set of fragmented memories from groups with opposing stakes. As a result, we have not yet reached a point at which representations of the Algerian war could become a site of “performative encounters” (Mireille Rosello), sites in which the “protocol of encounter” of opposing sides might be reconfigured otherwise, thus allowing for “the creation of new subject-positions.” Cultural sites of memory tend to become sites where earlier war divisions are replayed. This article analyzes representations of the Algerian war in Hors la loi ( Outside the Law ), exploring to what extent Stora’s argument about the fragmentation of French memories of the Algerian war is relevant to understanding both the film and its reception.
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