Le Temps du ghetto ou « l’invention » du témoignage mémoriel
Le Temps du ghetto or “the invention” of the testimonial memory on screenThe first French production to deal directly and exclusively from the annihilation of the Jews under Nazism, Le Temps du ghetto (The Witnesses) also introduces for the first time in a film the testimony of anonymous people to...
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| Format: | Article ou chapitre numérique |
| Sprache: | Français |
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2011
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| Online Zugang: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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cairn-RHSHO_195_0507RHSHORevue d’Histoire de la Shoah https://shs.cairn.info/revue-d-histoire-de-la-shoah-2011-2-page-507?lang=fr https://doi.org/10.3917/rhsho.195.0507 Le Temps du ghetto ou « l’invention » du témoignage mémoriel Drame, Claudine2011 fre Revue d’Histoire de la Shoah | 195 | 2 | 2011-12-12 | p. 507-532 | 2111-885X RHSHO_19579 Le Temps du ghetto or “the invention” of the testimonial memory on screenThe first French production to deal directly and exclusively from the annihilation of the Jews under Nazism, Le Temps du ghetto (The Witnesses) also introduces for the first time in a film the testimony of anonymous people to help document a historical reconstruction. Thus it seems Rossif filmed the testimony as a historical source. In doing so, he had to invent a process and use the appropriate testimonies for his project based on their expertise, as well as the techniques and existing historiography in the context of his creation, including the Eichmann process, which was contemporary to his time. This practice was challenged in 1961 and much better accepted in 1987 after the release of Shoah (The Holocaust).Cairn free access |
| language |
Français |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/Cairn/ |
| description |
Le Temps du ghetto or “the invention” of the testimonial memory on screenThe first French production to deal directly and exclusively from the annihilation of the Jews under Nazism, Le Temps du ghetto (The Witnesses) also introduces for the first time in a film the testimony of anonymous people to help document a historical reconstruction. Thus it seems Rossif filmed the testimony as a historical source. In doing so, he had to invent a process and use the appropriate testimonies for his project based on their expertise, as well as the techniques and existing historiography in the context of his creation, including the Eichmann process, which was contemporary to his time. This practice was challenged in 1961 and much better accepted in 1987 after the release of Shoah (The Holocaust). |
| author |
Drame, Claudine |
| spellingShingle |
Drame, Claudine Le Temps du ghetto ou « l’invention » du témoignage mémoriel |
| author_facet |
Drame, Claudine |
| author_sort |
Drame, Claudine |
| title |
Le Temps du ghetto ou « l’invention » du témoignage mémoriel |
| title_short |
Le Temps du ghetto ou « l’invention » du témoignage mémoriel |
| title_full |
Le Temps du ghetto ou « l’invention » du témoignage mémoriel |
| title_fullStr |
Le Temps du ghetto ou « l’invention » du témoignage mémoriel |
| title_full_unstemmed |
Le Temps du ghetto ou « l’invention » du témoignage mémoriel |
| title_sort |
le temps du ghetto ou « l’invention » du témoignage mémoriel |
| publishDate |
2011 |
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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-507?lang=fr https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rhsho.195.0507 |
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