La « nostalgie » dans les remontages de Harun Farocki
Archives images may have inscripted « drownings » (LEVI, 1989) that have taken place in History. That cinema is able to edit them in a way we feel « concerned » with what they filmed is certainly at the heart of Harun Farocki's work around the images of the victims from the nazis camps. In orde...
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Conserveries Mémorielles
2018-06-01
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| Series: | Conserveries Mémorielles |
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| Online Access: | https://journals.openedition.org/cm/2892 |
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| author | Amélie Bussy |
| author_facet | Amélie Bussy |
| author_sort | Amélie Bussy |
| collection | DOAJ |
| description | Archives images may have inscripted « drownings » (LEVI, 1989) that have taken place in History. That cinema is able to edit them in a way we feel « concerned » with what they filmed is certainly at the heart of Harun Farocki's work around the images of the victims from the nazis camps. In order to observe the poetic means chosen by Farocki to retake their images, this article intend to analyse Farocki's editing as « nostalgic ». Thus, it aims to understand how editing can be a memorial and artistic mean able to write history in order to make appear the fate of the victims at the surface of the screen. In the meantime, it also intends to draw a positive but harsh and sensitive definition of nostalgia since Farocki dares, with it, to reinvent an archive-cinema which also testifies of their irresolvable and definitive disappearance. |
| format | Article |
| id | doaj-art-66b3713da2a0457691723ac1fbc5d2b5 |
| institution | Kabale University |
| issn | 1718-5556 |
| language | deu |
| publishDate | 2018-06-01 |
| publisher | Conserveries Mémorielles |
| record_format | Article |
| series | Conserveries Mémorielles |
| spelling | doaj-art-66b3713da2a0457691723ac1fbc5d2b52025-02-05T16:16:26ZdeuConserveries MémoriellesConserveries Mémorielles1718-55562018-06-01La « nostalgie » dans les remontages de Harun FarockiAmélie BussyArchives images may have inscripted « drownings » (LEVI, 1989) that have taken place in History. That cinema is able to edit them in a way we feel « concerned » with what they filmed is certainly at the heart of Harun Farocki's work around the images of the victims from the nazis camps. In order to observe the poetic means chosen by Farocki to retake their images, this article intend to analyse Farocki's editing as « nostalgic ». Thus, it aims to understand how editing can be a memorial and artistic mean able to write history in order to make appear the fate of the victims at the surface of the screen. In the meantime, it also intends to draw a positive but harsh and sensitive definition of nostalgia since Farocki dares, with it, to reinvent an archive-cinema which also testifies of their irresolvable and definitive disappearance.https://journals.openedition.org/cm/2892picturesHarun Farockiretakeseditingdisappearancevictims |
| spellingShingle | Amélie Bussy La « nostalgie » dans les remontages de Harun Farocki Conserveries Mémorielles pictures Harun Farocki retakes editing disappearance victims |
| title | La « nostalgie » dans les remontages de Harun Farocki |
| title_full | La « nostalgie » dans les remontages de Harun Farocki |
| title_fullStr | La « nostalgie » dans les remontages de Harun Farocki |
| title_full_unstemmed | La « nostalgie » dans les remontages de Harun Farocki |
| title_short | La « nostalgie » dans les remontages de Harun Farocki |
| title_sort | la nostalgie dans les remontages de harun farocki |
| topic | pictures Harun Farocki retakes editing disappearance victims |
| url | https://journals.openedition.org/cm/2892 |
| work_keys_str_mv | AT ameliebussy lanostalgiedanslesremontagesdeharunfarocki |