The Representation of Conflict in the Film “71” Directed by Yann Demange

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Table of Contents

Introduction
Historical Context
Representation of Violence
Representation of Identity
Representation of Trauma
Conclusion
Reference List

Introduction

Conflict is one of the most common challenges in the film “71”. According to Chase (2023), conflict is an essential part of any film that drives the plot and keeps the audience engaged. The film “71” is a 2014 British historical thriller directed by Yann Demange (Llewellyn and Thompson, 2023, p. 1). Set in Northern Ireland during the Troubles, the film tells the story of a young British soldier who separates from his unit and is stranded in a hostile and dangerous urban landscape. The soldier’s name is Gary Hook, and as he tries to find his way back to safety, he becomes embroiled in the conflict between the Irish Republican Army and the British Army. He had to negotiate the challenging web of links and allegiances that characterize the struggle. This paper analyzes how the film portrays the conflict’s violence, identity, and trauma and how these representations contribute to the audience’s understanding of the complex issues at stake.

The film “71” offers a nuanced and complex portrayal of the conflict in Northern Ireland, which challenges simplistic and one-dimensional depictions of the conflict as a straightforward battle between good and evil. Through its depiction of trauma, identity, and violence, the film offers a more nuanced and complicated understanding of the conflict. According to Andrä et al. (2020), the conflict will tend to recognize the human cost of violence and the complexities of identity in a divided society. Generally, this analysis shows that the film “71” is a powerful and important contribution to the audience’s understanding of the Troubles, which offers a compelling and thought-provoking exploration of the human experience of conflict.

Historical Context

The conflict was characterized by sectarian violence, bombings, and assassinations and involved a complex web of political, social, and religious tensions. The Troubles in Northern Ireland is a protracted conflict that began in the late 1960s and lasted until the Good Friday Agreement in 1998 (Scull, 2019, p. 3). The conflict began as a response to discrimination against the Catholic minority in Northern Ireland by the Protestant majority. The Civil Rights Movement, which called for greater rights and opportunities for Catholics, was met with violent resistance from loyalist paramilitaries and the police force, which was predominantly Protestant.

The conflict soon escalated into a full-blown insurgency, with the formation of the Provisional Irish Republican Army (IRA), a paramilitary group dedicated to reunifying Ireland and removing British influence from Northern Ireland. The British Army was deployed to Northern Ireland to restore order, but their presence only fueled the conflict, as many Catholics viewed them as an occupying force. The conflict was also complicated by the involvement of other paramilitary groups, such as the Ulster Volunteer Force and the Ulster Defence Association (Scull, 2019). These loyalist groups sought to maintain Northern Ireland’s position within the United Kingdom.

According to Brereton (2022, p. 298), film ‘77 takes place in 1971, a particularly violent year in the conflict when the British Army mass arrested suspected IRA members in Belfast. The significance of the time and place where the film takes place is that it offers a window into the everyday realities of the conflict (Andrä et al., 2020). The film captures the palpable sense of tension and fears that permeated the city and the difficulties faced by soldiers on both sides of the conflict as they tried to navigate the murky waters of urban guerrilla warfare.

Representation of Violence

The film portrays violence in the Northern Irish conflict viscerally and unflinchingly, depicting the brutal realities of urban guerrilla warfare and the toll that violence takes on soldiers and civilians alike. Key scenes in the film include the opening sequence, which depicts a tense patrol through the streets of Belfast, and a later scene where the protagonist is ambushed by IRA shooters and narrowly escapes with his life. In order to escape his assailants, Hook is saved by neighborhood Protestants, who then take him to a Loyalist bar (Llewellyn and Thompson, 2023, p. 2). These scenes are depicted with a gritty realism that emphasizes the chaotic and unpredictable nature of urban warfare, with gunfire and explosions ringing out amid the narrow streets and alleyways of the city.

The film also depicts the psychological toll that violence takes on the soldiers, with the protagonist trying to understand the violence he has seen and experienced. The scenes of violence are often intercut with quieter moments of introspection and reflection, highlighting the human cost of the conflict and the toll it takes on all those involved. The impact of the film’s portrayal of violence on the audience is complex, as it both reinforces and challenges preconceptions about the conflict. On the one hand, the film’s realistic and visceral portrayal of violence can reinforce the idea that the conflict was a senseless and brutal cycle of violence with no clear resolution. It depicts how group norms of the British Army and the IRA result in violence, even against personal beliefs, as moderation is policed or punished (Brown and Livingston, 2018, p. 80). The film’s nuanced portrayal of the human cost of violence and the complexities of identity and loyalty challenge simplistic notions of good and evil and encourage the audience to question their assumptions about the conflict.

Representation of Identity

The film represents the complex identities in the Northern Irish conflict, depicting the struggles of British soldiers, IRA members, and civilians to navigate the complex web of political, social, and religious tensions. It depicts the soldiers as individuals with unique backgrounds and motivations, highlighting the complex identities and allegiances at play in the conflict. The soldiers are shown struggling to reconcile their duties as British soldiers with their own beliefs and feelings (Brereton, 2022, p. 299). Some soldiers sympathized with the civilians caught up in the violence, while others were more ruthless and uncompromising.

Similarly, the film portrays the IRA members not as faceless terrorists but as individuals with motivations and struggles. The film depicts the ideological commitment of the IRA members to the reunification of Ireland. It also highlights the brutal and indiscriminate nature of their attacks and their impact on civilians caught in the crossfire (Llewellyn and Thompson, 2023, p. 1). It also depicts the complexities of identity in the context of the conflict, with characters grappling with questions of loyalty, betrayal, and belonging. The protagonist, for example, is a British soldier who is also a working-class lad from Liverpool. He finds himself between his loyalty to fellow soldiers and his sense of identity and morality.

Representation of Trauma

The film portrays the profound psychological impact of the Northern Irish conflict on its characters, depicting how trauma and violence can shape the human psyche. A key scene in the film that depicts trauma includes the protagonist’s escape from an IRA ambush (Coulter, 2021, p. 302). Another scene is Hook’s interactions with civilians and fellow soldiers who have been traumatized by the violence they have experienced. The film also emphasizes the psychological toll that violence takes on the protagonist as he struggles to come to terms with the violence he has witnessed.

The film’s portrayal of trauma is nuanced and complex, depicting how violence can shatter and shape the human psyche. The film shows characters deeply scarred by the violence they have experienced. It also highlights the resilience and strength that characters can draw on to survive and cope with the trauma. Its representation of trauma contributes to a deeper understanding of the conflict (Pheasant-Kelly, 2020, p. 241). It highlights the human cost of violence and how it can continue to shape the lives of those who have experienced it long after the conflict has ended. The film encourages the audience to empathize with the characters and understand how their experiences have shaped their identities and relationships with the world around them.

Conclusion

The essay has analyzed the representation of conflict in the film “71” and has presented several key insights into its portrayal of violence, identity, and trauma. Through its exploration of the Northern Irish conflict, the film offers a nuanced and thought-provoking look into the human experience of war and violence. The essay has discussed the historical context of the conflict and how it influenced the film’s depiction of violence, identity, and trauma. The analysis has highlighted key scenes that illustrate the brutality of the conflict and the psychological impact it had on its characters. The film’s portrayal of identity has also been examined, showcasing its complex and shifting nature. The argument is solid that “71” provides a powerful representation of the conflict in Northern Ireland, challenging the audience’s preconceptions about the conflict and encouraging a deeper understanding of its complexities (Prince, 2018, p. 783). The film is more significant because its representation of conflict can be seen as an important contribution to the audience’s understanding of the Northern Irish conflict. By offering a humanistic perspective on the conflict, the film encourages empathy and understanding, helping to bridge divides and promote healing.

Reference List

Andrä, C. et al. (2020) ‘Knowing through needlework: curating the difficult knowledge of conflict textiles’, Critical Military Studies, 6(3–4), pp. 341–359. Web.

Brereton, P. (2022) ‘Troubles and Northern Ireland: representations in film of Belfast as a site of conflict’, Irish Studies in International Affairs, 33(2), pp. 291–305.

Brown, R., & Livingston, L. (2018) ‘A new approach to assessing the role of technology in spurring and mitigating conflict: evidence from research and practice’, Journal of International Affairs, 71(1.5), 77–86. Web.

Chase, N. (2023) What is conflict in a story? [Definition, Types, and Examples]. Web.

Coulter, C. (2021) ‘Learning to live with ghosts: spectres of the Troubles in contemporary Northern Irish cinema’, Irish Studies Review, 29(3), pp. 287–310.

Llewellyn, J. and Thompson, S. (2023) ‘71 (2014), Northern Ireland. Alpha History. Web.

Pheasant-Kelly, F. (2020) ‘Signifying trauma in the post-9/11 combat film: the hurt locker and in the valley of Elah’, Journal of War and Culture Studies [Preprint]. Web.

Prince, S.J.D. (2018) ‘Against ethnicity: democracy, equality, and the Northern Irish Conflict’, Journal of British Studies, 57(4), pp. 783–811. Web.

Scull, M.M. (2019) The Catholic Church and the Northern Ireland Troubles, 1968-1998. Oxford University Press, USA.

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