Reviews 269 II films, along with many others (“over 144,” the author asserts), this expectation was met. Others were not. The introduction, for example, explains the need for the study and delineates the criteria by which films were selected. Yet the criteria themselves occasionally give pause, for instance the decision to omit relevant international coproductions such as The Pianist (2002). Still, lines must be drawn, and the ones in Jewish Identity in French Cinema largely work. Of greater concern are conceptual and organizational difficulties. Chief among these is the author’s decision to use “Jewish identity”not as a clearly defined attribute, but rather a“loose concept”that relies rather heavily on Sartre’s 1946 Réflexions sur la question juive. More often than not, “Jewish identity” appears to be defined by what it is not, rather than what it is. Similar complications arise in discussions of the admittedly thorny question of French national identity, in which, among other issues, the term français de souche often surfaces with only partial analysis of its implications. Furthermore, the book would be well-served by an introductory historical overview, or at least a timeline, of the key moments of Jewish history in France so that the chapters might concentrate more fully on the films themselves. Of the five chapters, introduction, and conclusion, the argument comes most clearly into focus in the three chapters that constitute its core, in which Bokobza creates three categories:“The Hidden Jew,”“The Paradoxical Jew,”and“The Total Jew.” Yet even here, terms are not always clearly defined, especially for the“paradoxical Jew,” nor does the author always adhere to his plan to examine fully just three films per category. One might also question certain film choices and analyses. If, as the author asserts, this study is about identity and not representation, is a film like Les aventures de Rabbi Jacob (1973), in which the protagonist pretends to be Jewish for comic effect, necessarily the best example? Moreover, well-known films such as Au revoir les enfants (1987) and Elle s’appelait Sarah (2010) are incompletely or inaccurately described. This in turn calls into question the presentation of other films in the volume. These issues, combined with the need for more thorough proof-reading and editing, plus a lack of cited research into such central questions as film production and reception, trauma, survivor’s guilt, Vichy syndrome, and otherness, to name a few, leave the reader with more questions than answers. That being said, the text, especially the nearly 100-page descriptive filmography, does encompass a wide variety of films, some famous, others less known, and thus may be of some interest to those on the lookout for new titles. University of the Cumberlands (KY) Laura Dennis Maazouzi, Djemaa. Le partage des mémoires: la guerre d’Algérie en littérature, au cinéma et sur le web. Paris: Garnier, 2015. ISBN 978-2812438356. Pp. 487. Algeria’s war of independence and subsequent decolonization have been the topic of many studies. But Djemaa Maazouzi’s book is very distinctive both in terms of its treatment of the subject matter and its method of analysis. Maazouzi examines memory narratives of the Algerian war and investigates the ways in which they are remembered, reconstructed, and narrated by authors and filmmakers who constitute different “groupes de mémoire.” According to Maazouzi, the works of these groups are influenced by their subjective experiences and informed by a shared colonial past. To explain this dynamic better, she adopts Dominique Maingueneau’s concept of “scénographies mémorielles,” which, according to her,“se retrouvent dans la manière dont les groupes de mémoire de la guerre d’Algérie (harki, immigration algérienne, pieds-noirs) vivent [...] leur rapport au passé à partir du présent” (99). Maazouzi analyzes both the works of established authors and filmmakers as well as less familiar ones that are published online. The book is divided into four chapters. The first lays out a rich theoretical framework, and the three others study three reoccurring themes: “trial, encounter, and return” as reflected in novels, movies, documentaries and web films. Her analysis focuses on works by Tony Gatlif, son of pied...