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dc.contributor.authorBesson, Rémy
dc.publisherÉditions Kiméfr
dc.titleArticuler histoire du regard et travail en archives : le cas de En sursisfr
dc.contributor.affiliationUniversité de Montréal. Faculté des arts et des sciences. Département d'histoire de l'art et d'études cinématographiquesfr
dcterms.abstractThis paper deals with the editing process of Harun Farocki’s Respite [Aufschub] and it's interpretation by visual historians. The approach tries to create links between film history, based on close readings of archives, and cultural studies, based on readings of film interpretation. Firstly, it is the result of a systematic comparison between the footage shot by an inmate in the Transit camp of Westerbork (Holland) during the Holocaust, and the film edited between 2007 and 2008. Secondly, this comparison is linked to papers about Respite, published between 2008 and 2016 (Didi-Huberman, Elsaesser, Kékesi, Kramer, Lindeperg, Rascaroli). This experimental film – the case study of this essay – leads to a better understanding of Holocaust representation and of some patterns of our current visual
UdeM.ReferenceFournieParDeposantRémy Besson, « Articuler histoire du regard et travail en archives : Le cas de En Sursis (Harun Farocki).», Mémoire en jeu, n°3, 2017, p.
UdeM.VersionRioxxVersion publiée / Version of Recordfr
oaire.citationTitleMémoires en jeu : enjeux de sociétéfr

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