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La Shoah À L'écran

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La Shoah À L'écran Mémoi La mise en scène cinématographique de la Shoah et des crimes contre l’humanité en général pose aux réalisateurs une question clé, celle du réalisme de la représentation, question à la fois éthique et esthétique. Entre les docu- emember mentaires et les fictions, entre les reconstitutions historiques, comme La Liste de Schindler de Steven Spielberg, qui s’attachent à mettre en scène la réalité dans tous ses détails, et les films plus symboliques comme celui de Roberto Benigni, La Vie est belle, tous les degrés sont représentés. Certains films donnent lieu à des polémiques, dont il s’agit de comprendre les enjeux. Le cinéma est-il le moire meilleur moyen d’informer les jeunes générations de ce qui s’est passé? N’est-ce pas plutôt le rôle d’autres documents – CD-Rom, vidéo, archives ? Quelle Memoi différence y a-t-il entre ces supports et le cinéma en tant qu’art ? Est-il possible d’instruire et d’émouvoir sans rien montrer ? L’émotion elle-même, souvent très vive, n’est-elle pas ambivalente? Telles sont les questions posées par ce livre, pour montrer que le cinéma, art majeur de notre époque, ne peut se contenter de mettre en scène l’horreur concentrationnaire, mais doit éduquer, Mémoire chez un public de plus en plus jeune, une sensibilité émoussée par l’abus que font les médias des images de la violence. ire La Shoah à l’écran Crime contre l’humanité et représentation Remem moireRem La Shoah à l’écran www.coe.int Crime contre l’humanité Le Conseil de l’Europe regroupe aujourd’hui 47 Etats membres, soit la quasi-totalité des pays du continent européen. Son objectif est de créer un espace démocratique et et représentation juridique commun, organisé autour de la Convention européenne des Droits de l’Homme et d’autres textes de référence sur la protection de l’individu. Créé en 1949, au lende- main de la seconde guerre mondiale, le Conseil de l’Europe est le symbole historique de Tome I la réconciliation. 00000 Anne-Marie BARON ISBN 978-92-871-5492-7 Council of Europe Publishing Editions du Conseil de l’Europe 9 789287 154927 Council of Europe Publishing Editions du Conseil de l’Europe http://book.coe.int Éditions du Conseil de l’Europe Council of Europe Publishing 12 e/18 $US Editions du Conseil de l’Europe Editions du Conseil de l’Europe Council of Europe Publishing Editions du Conseil de l’Europe La Shoah à l’écran Crimes contre l’humanité et représentation Editions du Conseil de l’Europe Les opinions exprimées dans cet ouvrage sont de la responsabilité des auteurs et ne reflètent pas nécessairement la ligne officielle du Conseil de l’Europe. Tous droits réservés. Aucun extrait de cette publication ne peut être traduit, repro- duit, enregistré ou transmis, sous quelque forme et par quelque moyen que ce soit – électronique (CD-Rom, Internet, etc.), mécanique, photocopie, enregistrement ou toute autre manière – sans l’autorisation préalable écrite de la Division des Editions, Direction de la communication et de la recherche. Conception: Atelier de création graphique du Conseil de l’Europe Editions du Conseil de l’Europe F-67075 Strasbourg Cedex ISBN 92-871-5492-9 © Conseil de l’Europe, septembre 2004 Imprimé dans les ateliers du Conseil de l’Europe Table des matières Prémisses .............................................................................................................................. 7 I. Génocide et crime contre l’humanité .............................................................. 7 II. Le problème terminologique .............................................................................. 9 III. La question de la représentation ....................................................................... 10 IV. Cinéma et histoire ................................................................................................... 12 V. Documentaire et fiction ........................................................................................ 14 VI. Litote et emphase (understatement et overstatement) .............................. 16 VII. Réalisme et anti-réalisme .................................................................................... 17 VIII. Codes filmiques et codes profilmiques .......................................................... 19 IX. La question du comique ....................................................................................... 20 PREMIÈRE PARTIE: REGARDS DOCUMENTAIRES A. Une école ........................................................................................................................ 25 I. Pionniers: ................................................................................................................... 25 Nuit et Brouillard (Alain Resnais), 1955 ...................................................... 25 Le Chagrin et la Pitié (Marcel Ophüls), 1970 ............................................ 28 De Nuremberg à Nuremberg (Frédéric Rossif), 1994 ............................. 31 II. Documentaires sans documents: ...................................................................... 34 Shoah (Claude Lanzmann), 1985 ..................................................................... 34 Drancy avenir (Arnaud des Pallières), 1997 ............................................... 37 III. Acteurs et témoins du drame: ........................................................................... 40 Falkenau, vision de l’impossible (Emil Weiss), 1988 ............................. 40 Un spécialiste, portrait d’un criminel moderne (Eyal Sivan et Ronny Brauman), 1999 .......................................................... 42 Sobibor (Claude Lanzmann), 2002 .................................................................. 45 B. Autres regards ............................................................................................................. 47 So many miracles (Tant de miracles, Katherine Smalley), Canada, 1986 ............................................................................................................ 47 Terezin diary (Journal de Terezin, Dan Weissman), Grande-Bretagne, 1990 ........................................................................................ 49 Shtetl, a journey home (Marian Marzynski), Etats-Unis, 1996 ............ 51 Jenseits des Krieges (A l’est de la guerre, Ruth Beckermann), Autriche, 1996 ......................................................................................................... 53 Shalosh ahayot (Trois sœurs, Tsipi Reibenbach), Israël, 1997 ............ 55 DEUXIÈME PARTIE: FICTIONS AMÉRICAINES I. Modèles du réalisme: ............................................................................................ 59 Holocaust (Holocauste, Marvin Chomsky), 1978 ..................................... 59 Shindler’s list (La Liste de Schindler, Steven Spielberg), 1994 .......... 62 3 La Shoah à l’écran – Crimes contre l’humanité et représentation II. Reconstitution historique moderne: ................................................................ 65 Uprising, (1943, l’ultime révolte, Jon Avnet), 2001 ................................ 65 III. «La réalité pure»: ................................................................................................... 68 The Pianist (Le Pianiste, Roman Polanski), 2002 ..................................... 68 IV. Lendemains de guerre: ......................................................................................... 71 Sophie’s choice (Le Choix de Sophie, Alan Pakula), 1982 .................... 71 Taking sides (Istvan Szabo), 2001 ................................................................... 73 TROISIÈME PARTIE: FICTIONS EUROPÉENNES I. Propagande nazie: .................................................................................................. 77 Jud Süss (Le Juif Süss, Veit Harlan), Allemagne, 1940 .......................... 77 II. Reconstitutions historiques: ............................................................................... 79 Wannseekonferenz (La Conférence de Wannsee, Heinz Schirk), Autriche, 1984 ......................................................................................................... 79 Korczak (Andrzej Wajda), Pologne, 1990 .................................................... 82 III. Histoire et fiction: .................................................................................................. 84 Pasazerka (La Passagère, Andrzej Munk), Pologne, 1963 ................... 84 Monsieur Klein (Joseph Losey), France/Italie, 1976 ................................ 86 Au revoir les enfants (Louis Malle), France, 1987 .................................... 89 La Tregua (La Trêve, Francesco Rosi, d’après Primo Levi), Italie, 1997 ................................................................................................................. 91 Invincible (Werner Herzog), Allemagne, 2001 .......................................... 93 Amen (Costa-Gavras), France, 2002 ............................................................... 95 IV. Anti-réalisme: .......................................................................................................... 98 Voyages (Emmanuel Finkiel), France, 1999 ................................................ 98 La Guerre à Paris (Yolande Zauberman), France, 2001 ........................ 101 La Dernière Lettre (Frederick Wiseman), France, 2002 ........................ 103 La Petite Prairie aux bouleaux (Marceline Loridan-Ivens), France, 2003 ............................................................................................................. 106 QUATRIÈME
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