Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
147
result(s) for
"Delage, Christian"
Sort by:
The Scene of the Mass Crime
The Scene of the Mass Crime takes up the unwritten history of the peculiar yet highly visible form of war crimes trials. These trials are the first and continuing site of the interface of law, history and film. From Nuremberg to the contemporary trials in Cambodia, film, in particular, has been crucial both as evidence of atrocity and as the means of publicizing the proceedings. But what does film bring to justice? Can law successfully address war crimes, atrocities, genocide? What do the trials actually show? What form of justice is done, and how does it relate to ordinary courts and proceedings? What lessons can be drawn from this history for the very topical political issue of filming civil and criminal trials? This book takes up the diversity and complexity of these idiosyncratic and, in strict terms, generally extra-legal medial situations. Drawing on a fascinating diversity of public trials and filmic responses, from the Trial of the Gang of Four to the Gacaca local courts of Rwanda to the filmic symbolism of 9-11, from Soviet era show trials to Nazi People's Courts leading international scholars address the theatrical, political, filmic and symbolic importance of show trials in making history, legitimating regimes and, most surprising of all, in attempting to heal trauma through law and through film. These essays will be of considerable interest to those working on international criminal law, transitional justice, genocide studies, and the relationship between law and film.
eBook
Law and new media : west of everything
In this volume, international specialists from new and established domains of law, media, film and virtual studies address the emergence of the jurist in the era of digital transmission. Examining the jurisprudence of new visual technologies--from the cinema of the early twentieth century to the social media of our own time--this volume explores the multiple intersections of these visual technologies and the law from the theoretical insight they generate to the nature of law to the impact they have on doctrinal development. Part One tracks the media, the technologies and apparatuses of modern law. It looks specifically at the acoustics of architecture, emblematic texts, films of trials, the prohibition of cameras in courtrooms and the rules of contempt, televised reporting of law, and the multiple fora and chat rooms of Facebook, vblogs, #law and the mobile-optimised web. Part Two examines the jurisprudential questions raised by new visual and virtual reality technologies of the 21st century. Will social media lead to social law? The force of legal remediation? Virtual courts and online judges? Paperless trials? Electronic discovery? All of these developments impact how we conceive of the practice of law.
Book
The documentary genre: A shared form of writing history
Does the documentary film result from a collaboration between the skills of directing and those of writing history? The inaugural experiments conducted in the America of the Great Depression and the France of the Popular Front demonstrate the importance of the collective or the contribution of individual researchers in the filmmaking process. In France, the involvement of the Comité d’histoire de la Seconde Guerre mondiale (Committee for the History of the Second World War) in the writing of Alain Resnais’s film Nuit et Brouillard will go unanswered: most of the great documentary filmmakers work at a distance from historical expertise. If some historians have developed a real familiarity with this audiovisual tool, it was not until the 1990s that researchers themselves became directors, in a context where the creation of the ARTE channel, in connection with a public policy of support for film production, allowed France to open up a demanding space for collaboration between the world of research and that of film production. Today, the translation of the language of academic knowledge into that of film has become a shared field of experimentation in the writing of history.
Journal Article
The Klaus Barbie Trial
Delage situates the postwar French juridical status of the former Gestapo officer Klaus Barbie in relation to the Nuremberg and Eichmann trials and to what Henry Rousso has described as \"the Vichy Syndrome.\" First tried in absentia in 1952 as a war criminal, \"the Butcher of Lyon\" could only be tried again in 1987--after the statute of limitations had passed--for crimes against humanity. It is the legacy of the second trial that primarily concerns Delage, who discusses the government institutions, films, broadcasts, and memories associated with each one of these efforts to recontextualize Vichy for a new generation.
Journal Article
Le genre documentaire, une forme partagée d’écriture de l’histoire
Le genre du film documentaire procède-t‑il d’un partage entre les compétences de la réalisation et celles de l’écriture de l’histoire ? Les expériences inaugurales conduites dans l’Amérique de la Grande Dépression et la France du Front populaire montrent l’importance du collectif ou l’apport de chercheurs individuels dans le processus de réalisation. En France, l’implication du Comité d’histoire de la Seconde Guerre mondiale dans l’écriture du film d’Alain Resnais Nuit et Brouillard restera sans suite : la plupart des grands documentaristes travaillent à distance de l’expertise historienne. Si certains historiens ont développé une véritable familiarité avec l’outil audiovisuel, il faut attendre les années 1990 pour voir des chercheurs devenir eux-mêmes réalisateurs, dans un contexte où la création de la chaîne ARTE, en lien avec une politique d’aide à la création conduite par les pouvoirs publics, permet à la France d’ouvrir un espace exigeant de collaboration entre le monde de la recherche et celui de la production de films. Aujourd’hui, le passage, la translation du langage de la connaissance scientifique vers celui du film est devenu un terrain d’expérimentation davantage partagé dans l’écriture de l’histoire. Does the documentary film result from a collaboration between the skills of directing and those of writing history? The inaugural experiments conducted in the America of the Great Depression and France of the Popular Front show the importance of the collective or the contribution of individual researchers in the process of realization. In France, the involvement of the History Committee of the Second World War in the writing of Alain Resnais’ film Nuit et Brouillard will go unanswered: most of the great documentary filmmakers work at a distance from historical expertise. If some historians have developed a real familiarity with the audiovisual tool, it was not until the 1990s to see researchers themselves become directors, in a context where the creation of the ARTE channel, in connection with a public policy of support for creation, allows France to open up a demanding space for collaboration between the world of research and that of film production. Today, the passage, the translation of the language from scientific knowledge to that of film has become a more shared field of experimentation in the writing of history.
Journal Article
Le genre documentaire, une forme partagée d’écriture de l’histoire
Le genre du film documentaire procède-t-il d’un partage entre les compétences de la réalisation et celles de l’écriture de l’histoire ? Les expériences inaugurales conduites dans l’Amérique de la Grande Dépression et la France du Front populaire montrent l’importance du collectif ou l’apport de chercheurs individuels dans le processus de réalisation. En France, l’implication du Comité d’histoire de la Seconde Guerre mondiale dans l’écriture du film d’Alain Resnais Nuit et Brouillard restera sans suite : la plupart des grands documentaristes travaillent à distance de l’expertise historienne. Si certains historiens ont développé une véritable familiarité avec l’outil audiovisuel, il faut attendre les années 1990 pour voir des chercheurs devenir euxmêmes réalisateurs, dans un contexte où la création de la chaîne ARTE, en lien avec une politique d’aide à la création conduite par les pouvoirs publics, permet à la France d’ouvrir un espace exigeant de collaboration entre le monde de la recherche et celui de la production de films. Aujourd’hui, le passage, la translation du langage de la connaissance scientifique vers celui du film est devenu un terrain d’expérimentation davantage partagé dans l’écriture de l’histoire.
Does the documentary film result from a collaboration between the skills of directing and those of writing history? The inaugural experiments conducted in the America of the Great Depression and France of the Popular Front show the importance of the collective or the contribution of individual researchers in the process of realization. In France, the involvement of the History Committee of the Second World War in the writing of Alain Resnais’ film Nuit et Brouillard will go unanswered: most of the great documentary filmmakers work at a distance from historical expertise. If some historians have developed a real familiarity with the audiovisual tool, it was not until the 1990s to see researchers themselves become directors, in a context where the creation of the ARTE channel, in connection with a public policy of support for creation, allows France to open up a demanding space for collaboration between the world of research and that of film production. Today, the passage, the translation of the language from scientific knowledge to that of film has become a more shared field of experimentation in the writing of history.
Journal Article
The scene of the trial: history, film, mass crimes
The Scene of the Mass Crimetakes up the unwritten history of the peculiar yet highly visible form of war crimes trials. These trials are the first and continuing site of the interface of law, history and film. From Nuremberg to the contemporary trials in Cambodia, film, in particular, has been crucial both as evidence of atrocity and as the means of publicizing the proceedings. But what does film bring to justice? Can law successfully address war crimes, atrocities, genocide? What do the trials actually show? What form of justice is done, and how does it relate to ordinary courts and proceedings? What lessons can be drawn from this history for the very topical political issue of filming civil and criminal trials? This book takes up the diversity and complexity of these idiosyncratic and, in strict terms, generally extra-legal medial situations. Drawing on a fascinating diversity of public trials and filmic responses, from the Trial of the Gang of Four to the Gacaca local courts of Rwanda to the filmic symbolism of 9-11, from Soviet era show trials to Nazi People's Courts leading international scholars address the theatrical, political, filmic and symbolic importance of show trials in making history, legitimating regimes and, most surprising of all, in attempting to heal trauma through law and through film. These essays will be of considerable interest to those working on international criminal law, transitional justice, genocide studies, and the relationship between law and film.
eBook