Abstract This article discusses the critical portrayal of displacement, violence and trauma in two feature-length fiction films released just after the Algerian civil conflict (1991–2001): Rachida (Yamina Bachir-Chouikh, 2002) and Viva Laldjérie (Nadir Moknèche, 2004). In each film, the domestic displacement of a mother–daughter duo represents the experiences of a populace ‘exile[d] in [its] own country’ (Rachida). Images depicting the condition of ‘internal exile’ reflect a pervasive sense of fear, instances of anti-civilian violence and the difficulty of transcending historical structures such as gender codes and state power. Depicting figures of internal exile offers a radical visual testimony to a country long deprived of history and memory by official policies of amnesia, including censorship. Bachir-Chouikh and Moknèche use contrasting techniques to reveal undercurrents of outrage, malaise and dégoûtage (disgust) among Algerians, not only at the sheer horror of terrorism and other forms of violence, but also at the potential complicity of the authoritarian state in the atrocities of Algeria’s ‘black decade’.

中文翻译：

---

在我自己的国家：流浪者和维瓦·拉杰里的内部流放

摘要本文讨论了在阿尔及利亚内战之后（1991-2001年）发行的两部长篇小说电影中流离失所，暴力和创伤的批判性描写：Rachida（Yamina Bachir-Chouikh，2002）和VivaLaldjérie（NadirMoknèche，2004） ）。在每部电影中，母女二人在国内的流离失所都代表着民众“在其本国流亡”的经历（Rachida）。描绘“内部流亡”状况的图像反映了普遍的恐惧感，反平民暴力的事例以及超越性别结构和国家权力等历史结构的困难。描绘内部流亡者的数字为一个长期被遗忘，包括审查制度的官方政策剥夺了历史和记忆的国家提供了根本的视觉证据。