Pričujoča magistrska naloga obravnava vprašanje vzpostavljanja podobe alžirske vojne v francoskem kolektivnem spominu in njeno vlogo v javnem diskurzu skozi analizo filmskih podob enega ključnih auteurjev svetovnega filma, Jeana-Luca Godarda, na primeru filma Mali vojak (Le Petit soldat, 1960/1963). Alžirska vojna (1954-1962) je ena od nevralgičnih točk sodobnega francoskega zgodovinopisja, kot tudi medijskega in političnega diskurza, na kar nakazuje že dejstvo, da so francoske oblasti "dogodke v Alžiriji" prvič uradno poimenovale kot "alžirska vojna" šele l. 1999. V desetletjih po koncu vojne je alžirska drama zaradi svoje politično-ideološke teže postala tabu tema, v javnem diskurzu pa se je vzpostavila perspektiva "pozabe" tega ključnega dogodka sodobne francoske zgodovine. V odsotnosti uradne zgodovinske sprave se je spomin na alžirsko vojno dolgo prenašal skozi intimne zgodbe vseh vpletenih posameznikov, ki so vojno razumeli vsak s svoje ideološke perspektive. S tem je alžirska vojna postala skorajda prazen označevalec v javnem diskurzu in v neizgovorljivosti svoje dejanskosti prešla na raven mita. V nalogi poskušamo najprej razgrniti objektivna zgodovinska dejstva in jih prikazati skozi različne intimne spomine, osrednji del pa namenjamo analizi podobe v medijskem diskurzu, in sicer na primeru filmskih reprezentacij v enem od prvih filmov, ki so tematizirali alžirsko vojno. Obravnavani film v izpostavljenem dispozitivu nastopa kot subverziven tekst, ki uspe tako na ravni vsebine kot predvsem forme razprostreti mehanizem delovanja ideologije in vzpostavljanja diskurza moči.This master's thesis addresses the question of shaping the image of the Algerian War in the collective memory of the French and its role in public discourse through the analysis of cinematic representations by one of the paramount film auteurs, Jean-Luc Godard, on the case study of his film The Little Soldier (Le Petit soldat, 1960, released in1963). The Algerian War (1954-1962) remains a neuralgic issue in contemporary French historiography, as well as in the media and political discourse, which is supported by the fact, that the French authorities first officially referred to the "Algerian conflict" as the "Algerian War" only in 1999. In the decades following the end of the war, the Algerian conflict became a taboo due to its political-ideological burden. During this period, a perspective of "oblivion" regarding the war was established in the public discourse, even though it is one of the key events in contemporary French history. As no official historical reconciliation took place, the memory of the Algerian War passed along through the intimate stories of the individuals involved, each interpreting the events from their own ideological perspective. Thus, the Algerian War became merely an empty signifier in the public discourse and was mythicised due to the "unmentionability" of its reality. In this master's thesis, we try to unfold the objective historical facts and show them through the prism of different intimate memoires. The core of our work focuses on the analysis of the image in the public discourse on the case of cinematic representations in one of the first films addressing the topic of the Algerian War. In the exposed disposition, the film could be read as a subversive text, which both in content and in form successfully unfolds the mechanisms of the functioning of the ideology and the establishing of the discourse of power.
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