Gacaca, la dynamique des images
Gacaca, the versatility of imagesBetween 2002 and 2009, Anne Aghion has devoted herself to four films in post-genocide Rwanda, through the prism of gacaca - the proximity of courts enrolling in the politics of “reconciliation” conducted by the Rwandan government. Conveying a sense of forgiveness,...
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| Fformat: | Article ou chapitre numérique |
| Iaith: | Français |
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2011
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| Mynediad Ar-lein: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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cairn-RHSHO_195_0295 |
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cairn |
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cairn-RHSHO_195_0295RHSHORevue d’Histoire de la Shoah https://shs.cairn.info/revue-d-histoire-de-la-shoah-2011-2-page-295?lang=fr https://doi.org/10.3917/rhsho.195.0295 Gacaca, la dynamique des images Aghion, AnneRéra, Nathan2011 fre Revue d’Histoire de la Shoah | 195 | 2 | 2011-12-12 | p. 295-307 | 2111-885X RHSHO_19570 Gacaca, the versatility of imagesBetween 2002 and 2009, Anne Aghion has devoted herself to four films in post-genocide Rwanda, through the prism of gacaca - the proximity of courts enrolling in the politics of “reconciliation” conducted by the Rwandan government. Conveying a sense of forgiveness, the gacaca also partake in a confessional strategy whereby the accused are offered remission if they agree to confess their crimes. But beyond the originality of these open courts, where the assistants reconstruct in great detail the atrocities they experienced or witnessed, the fundamental question of coexistence between survivors and perpetrators is raised, beyond the trial. Anne Aghion’s films crystallize these issues, questioning the role of the camera in the process of social reconstruction. At the heart of this dynamic, the “actors” of the trial - accused or victims - initiate a common reflection on the possibilities of forgiveness in a society where the past continues to contaminate the present.Cairn free access |
| language |
Français |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/Cairn/ |
| description |
Gacaca, the versatility of imagesBetween 2002 and 2009, Anne Aghion has devoted herself to four films in post-genocide Rwanda, through the prism of gacaca - the proximity of courts enrolling in the politics of “reconciliation” conducted by the Rwandan government. Conveying a sense of forgiveness, the gacaca also partake in a confessional strategy whereby the accused are offered remission if they agree to confess their crimes. But beyond the originality of these open courts, where the assistants reconstruct in great detail the atrocities they experienced or witnessed, the fundamental question of coexistence between survivors and perpetrators is raised, beyond the trial. Anne Aghion’s films crystallize these issues, questioning the role of the camera in the process of social reconstruction. At the heart of this dynamic, the “actors” of the trial - accused or victims - initiate a common reflection on the possibilities of forgiveness in a society where the past continues to contaminate the present. |
| author |
Aghion, Anne Réra, Nathan |
| spellingShingle |
Aghion, Anne Réra, Nathan Gacaca, la dynamique des images |
| author_facet |
Aghion, Anne Réra, Nathan |
| author_sort |
Aghion, Anne |
| title |
Gacaca, la dynamique des images |
| title_short |
Gacaca, la dynamique des images |
| title_full |
Gacaca, la dynamique des images |
| title_fullStr |
Gacaca, la dynamique des images |
| title_full_unstemmed |
Gacaca, la dynamique des images |
| title_sort |
gacaca, la dynamique des images |
| publishDate |
2011 |
| container_title |
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| container_issue |
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| url |
https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-d-histoire-de-la-shoah-2011-2-page-295?lang=fr https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rhsho.195.0295 |
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