La fiction du génocide ou le partage des émotions (original) (raw)
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La guerre n'a rien de normal : c'est la banqueroute de la politique et de l'humanité. Tel est l'avis unanime des activistes des droits de l'homme. [...] Mon père Léo Maillet (1902-1990) parlait de stupidité, lui qui n'arrivait pas à trouver d'explication raisonnable lorsqu'il évoquait les auteurs du « génocide des Juifs, au coeur même de cette culture européenne qui avait généré la modernité [...] Texte rédigé en italien par Daniel Maillet (Cunha près São Paulo, Brésil) en collaboration avec Roland Schramm (Rio de Janeiro) ; révision italienne de Piergiorgio Morgantini (Terre di Pedemonte, Tessin, Suisse), traduction de l’italien par Jacques Gubler (Bâle, Suisse)
Récits de fiction et représentations partagées
L’Homme, 2005
Ce document est un fac-similé de l'édition imprimée. © École des hautes études en sciences sociales Cet article est disponible en ligne à l'adresse : http://www.cairn.info/article.php?ID\_REVUE=LHOM&ID\_NUMPUBLIE=LHOM\_175&ID\_ARTICLE=LHOM\_175\_0037 Récits de fiction et représentations partagées par François FLAHAULT
Rwanda 1994-2014: Le génocide à l'épreuve de la fiction
Among the abundance of artistic works which since twenty years construct the memory of the genocide perpetrated against the Tutsi in Rwanda, numerous filmmakers have taken up the challenge of fiction. More than a dozen feature-length films have seen the day, concurrently with the time of reconstruction and justice, most of them made by Western filmmakers. The view they put forth with their creative approach and lift onto the screen raises several historical, ethical and aesthetic issues, as much in regard to a truth that is still being written as to the memory of the victims. How can one get closer to the event when transgressing, by essence, what is real? How can one reveal the horror of the hundred days without lapsing into sensationalism, voyeurism or visual trauma? What narrative strategies may be used to narrate the inexpressible story of the victims? How can one suggest, through fiction, the very nature of the crime, namely the planned and systematic extermination of more the 800 000 Tutsi in Rwanda? This article shows how, in the name of realism and “plausibility”, the films which deal head on with the genocide portray both the potential and the limits of representation. It also emphasizes issues relating to cinematic space in which is developed, for the outsider in the same way as for the survivor, the language of a memory that remains to be rewritten.
Mise en scène de la mémoire d'un génocide : images dialectiques et lisibilité de l'histoire
Funes. Journal of Narratives and Social Sciences, 2020
This article proposes an analysis of the film The act of killing (Joshua Oppenheimer, 2012), articulating concepts such as cinematic meta-narrative (Stam 1981; 2015), dialectical images (Benjamin, 2006; 2018), and legibility of history (Didi-Huberman, 2000; 2012; 2018). The documentary film is about a group of men who participated in the anti-communist mass killing that occurred in Indonesia in 1965/66. In order to problematize the Indonesian genocide memories, the film applies a meta-narrative strategy: the former perpetrators reenact their crimes in front of the cameras by appropriating their favorite Hollywood genres. The scheme film-within-the-film , mixing facts and fiction, exposes a dubious heroic status of the former executioners and a crime confession by an auto-mise-en-scène. The analysis explores narrative, aesthetic and discursive aspects, exposing a dispute that involves an (re)interpretation of the violent past of Indonesia, making possible the (re)constitution of self-identities in the present and an (re)orientation for the future.
« Émotion et fiction », in Corps en scènes, Françoise Lavocat, Catherine Courtet, Mireille Besson, Alain Viala (dir.), CNRS éditions, 2015.