Using International Case Studies to Build Global Credibility

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What is missing is daily justice, the restitution in images of many jurisdictions up to those of work for example. Precisely, what his successor wishes to do. With, the confirmation in passing that testimonies for history and pedagogy are once again preponderant in the argument in favor of the image. But there is much more…And this more is to be sought in the birth certificate of the image/justice couple .

Nuremberg, the birthplace of the image of justice



It was in Nuremberg on November 20, 1945. A historical circumstance of prime importance to grasp the stakes of filming a trial. A double stake, seeing and showing . Legally, it was a question of judging important leaders of the Third Reich, of assessing among other things their responsibility in the face of charges such as crimes against peace and conspiracy, war crimes. The new notion of crimes against humanity introduced at the time, being here limited in its definition, as in time. Genocide, the final solution, as it was then called before the word Shoah, was far from constituting the main part of the debates. The judgment ultimately only had a few pages devoted to the elimination of the Jews. However, the image was there. The courtroom exposed, made the horror heard despite the hubbub of the comings and goings in the courtroom, or the noise of the simultaneous translation. There was the screening on screen of films made by the cameramen reporters at the liberation of the camps. John Ford had coordinated part of these filmings, as well as those of the trial itself.



Of course, we are far from having filmed the entirety of the exchanges. But the reactions from the "dock of the accused" were observed, scrutinized, both in their posture and in their speeches, in the face of the questions, the films shown, the stories of the victims who described the unspeakable as best they could. Among them, the Frenchwoman Marie-Claude Vaillant-Couturier sums up well the primary function of Nuremberg. After having detailed almost clinically, the mechanics of the extermination at the microphone, the survivor of Auschwitz stood up. She had decided to stare at the accused, as she confides to Henri de Turenne in the film "The Nuremberg Trial" directed by Daniel Costelle.

" I wanted to see up close how men could be capable gambling data australia of committing such crimes. And at the same time I wanted them to see me, and to know that through our eyes, it was the millions of victims... who were looking at them and judging them ."

Simply, film to allow one to see. To give one something to search for, to find a truth in a face, in words... That each one, judge, victim, or bystander, can conduct a sort of investigation in the secret of their conscience.

Eichman, giving a framework to the image of justice



After cinema, television was in turn confronted with the delicate question of filming a trial . The few principles outlined by the big screen were fixed for the small screen, implemented in a very constrained real device. Especially since this time, with the Eichmann trial , the Shoah was going to be placed at the very heart of the discussions, and what's more, in Israel.

On April 11, 1961, four operators, with well-defined roles – partly hidden so as not to disturb the proceedings – filmed the first moments of this trial broadcast, recorded in sound and video, in real time. The latest innovations in Marconi cameras were used, and the wide two-inch Ampex tapes made it possible to archive each day of the trial. Of the seven daily hours, one-hour montages were sent around the world. The precious book “Univers concentrationnaire et génocide. Voir, savoir, comprendre” signed by S. Lindeperg and A. Wieviorka is very rich in information on all this.