« Israël est un pays de guerre civile, mais le consensus est le plus fort... »
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,...
Gardado en:
| Auteurs principaux: | , |
|---|---|
| Formato: | Article ou chapitre numérique |
| Idioma: | Français |
| Publicado: |
2011
|
| Acceso en liña: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Résumé: | 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. |
|---|