WaldembergOliveira de Lima 1 ' ' (…) the conquest takes the people to aodespertar of its national conscience and the consequent rebellion against oconquistador or the tyranny of this ' '. 2 the objective of this artigo to analyze the attempt of construction of an Algerian national identity to apartir of the production of the film ' ' The Battle deArgel' ' , 1965, of Gilo Pontecorvo. For this, we will work some trechosapresentados in the workmanship in dialogue with the problematic ones that they had involved suaproduo. Permannciase ruptures. One to look at retrospective on the history of Algeria. Algeria is paslocalizado in the region a north of the African continent, divided between montanhasdo Atlases (coast north) and the desert of the Saara (in the south).

Its primeiroshabitantes, berberes, had been attracted by the Isl, partially arabicized emisturados with the Arab conqueror who inserted the religion from sculoVII. With this, ' ' the Algerian people started to belong and to associate its destination civilizao Arab-Muslim. The identification collective if it established, since then, in the community notion religiosa' '. 3 However, to break daprimeira half of century XIX, its territory was invaded by the forasfrancesas, where they had remained there per approximately 130 years. ' ' With instalaodo to be able colonial in Algeria as only regulator of the busy community, disappeared the center around which if they articulated and they hierarquizavam oselementos constituent of the historical reality of the country. The system of valoresfoi sprayed and the coherence of the national identity rompida' '. 4 This if explains for the vision of settling of the Frenchmen, in which to acreditavamestar taking ' ' civilizao' ' to the peoples ' ' brbaros' '. Thus, ' ' deep surgiramcontradies in the set of the constituent elements of the realidadesociolgica – the base of the historical community – as the cultural language, religion and asparticularidades and geogrficas' '.