000			01693cam a2200157 4500500
005			20250123155756.0
041			_afre
042			_adc
100	1	0	_aLainé, Anne _eauthor
245	0	0	_aFilmer les témoins du génocide des Tutsi. L’éthique en guise d’esthétique
260			_c2009.
500			_a86
520			_aFilming witnesses of the Tutsi genocide. Ethics by way of aestheticsThe filming of “Rwanda, a Cry of Deafening Silence” was focused on the issue of ethics which then determined the aesthetic profile of the film. The position of the author behind the camera protected her, but how could she make sure that the “Other” —the victim and witness of the genocide— was not endangered by exposing him/herself to the content, both visual and spoken, of the film.Meeting this requirement meant creating an ethical framework for the development of the film including initial interviews, choice of place, filming, translation, editing, etc. These different stages of film-making meant reversing the destructive processes of genocide. Anne Lainé very much wanted to show a different picture of these people, to reflect the integrity of their existence, which was taken away from them.How can one consider and show the Other ? What kind of attitude do we arouse in the audience : identification or reflection ? All of these aesthetic considerations that feed on cinematographic language and history are essential for the coherent, ethical frame of the film.
786	0		_nRevue d’Histoire de la Shoah | 190 | 1 | 2009-02-03 | p. 383-395 | 2111-885X
856	4	1	_uhttps://shs.cairn.info/revue-d-histoire-de-la-shoah-2009-1-page-383?lang=fr&redirect-ssocas=7080
999			_c871068 _d871068