DOCSLIB.ORG

Les Mutations D'un Lieu De Mémoire. Le Vélodrome D'hiver Au Cinéma

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Les Mutations D'un Lieu De Mémoire. Le Vélodrome D'hiver Au Cinéma Bates College SCARAB Honors Theses Capstone Projects 5-2015 Les Mutations d’un lieu de mémoire. Le Vélodrome d’Hiver au cinéma : 1970 et 2010 Talia Rose Rees Mason Bates College, [email protected] Follow this and additional works at: http://scarab.bates.edu/honorstheses Recommended Citation Mason, Talia Rose Rees, "Les Mutations d’un lieu de mémoire. Le Vélodrome d’Hiver au cinéma : 1970 et 2010" (2015). Honors Theses. 125. http://scarab.bates.edu/honorstheses/125 This Restricted: Embargoed [Open Access After Expiration] is brought to you for free and open access by the Capstone Projects at SCARAB. It has been accepted for inclusion in Honors Theses by an authorized administrator of SCARAB. For more information, please contact [email protected]. Les Mutations d’un lieu de mémoire. Le Vélodrome d’Hiver au cinéma : 1970 et 2010 The Mutations of a Memory Site. The Vélodrome d’Hiver in the Cinema: 1970 and 2010 Thèse d’Honneur de Talia Rose Rees Mason Présentée au Département d’Études Françaises et Francophones Bates College In partial fulfillment of the requirements for the Degree of Bachelor of Arts Lewiston, Maine 4 mai 2015 Remerciements Merci Professeur Alexandre Dauge-Roth pour votre soutien tout au long de ce processus et d’avoir ouvert mes yeux à la puissance d’un lieu dans la mémoire collective. Merci Professeur Rachel Boggia pour les mots d’encouragement pendant toute l’année, même quand vous n’étiez pas sur le campus. Merci aux rescapés du Vél d’Hiv qui ont pris la parole pour partager leurs expériences de ce lieu de mémoire et d’avoir fait connaître cet événement dans le monde entier. Merci Michel Mitrani, Joseph Losey, Roselyne Bosch et Gilles Paquet-Brenner pour vos œuvres filmiques. Grâce à vous, le Vélodrome d’Hiver restera inscrit dans la conscience et l’histoire française. Merci au Département de Français et d’Etudes Francophones de m’avoir permis d’explorer ce sujet pendant deux semestres. C’était passionnant de me perdre dans le Paris de 1942. Merci Hannah Miller et Daniela Velasco pour votre connaissance du processus d’Honneurs et pour avoir su me garder saine d’esprit cette année. Merci Eema, Abba et Noah pour me soutenir avec une foi inébranlable. ii Table des matières Remerciements .............................................................................................................................. ii Introduction ................................................................................................................................... 1 Une littérature historiographique ................................................................................................ 1 L’unicité de chaque représentation ............................................................................................. 2 Le film comme lien avec le passé ............................................................................................... 3 Comprendre la complexité de la mémoire au cinéma ................................................................. 5 Lieux de mémoire ....................................................................................................................... 7 La rafle : faits et chiffres ............................................................................................................ 10 Les années 1940 et la collaboration française ........................................................................... 12 Le quota des Allemands ............................................................................................................ 15 Autres figures centrales............................................................................................................. 15 La polémique Zemmour ............................................................................................................ 18 Un lieu symbolique, un lieu de mémoire .................................................................................. 19 Histoire de la reconnaissance officielle ..................................................................................... 21 Jacques Chirac : les premiers discours...................................................................................... 21 La Résistance : les Justes de France ......................................................................................... 23 L’évolution des discours ........................................................................................................... 24 Histoire de la représentation filmique du Vél d’Hiv ............................................................... 29 La lutte contre le négationnisme et le devoir de mémoire ........................................................ 29 Traitement filmique de la Shoah : chronologie ......................................................................... 30 Films abordant la grande rafle .................................................................................................. 31 Le rôle du documentaire ........................................................................................................... 33 Le statut de l’image et des lieux de mémoire ............................................................................ 35 La photographie ........................................................................................................................ 35 Du hors champ photographique à la création cinématographique ............................................ 36 Les manières de voir ................................................................................................................. 37 La mémoire et l’histoire ............................................................................................................ 39 Les lieux de mémoire ................................................................................................................ 41 Vichy comme lieu de mémoire ................................................................................................. 44 Lieux de mémoire mutants........................................................................................................ 46 Les guichets du Louvre : la première représentation ............................................................... 50 Comprendre Paul Laubier ......................................................................................................... 51 Le Paris de 1942........................................................................................................................ 52 Signes de l’objectivation des juifs ............................................................................................ 54 La France de Mitrani ................................................................................................................. 57 Le rôle de la représentation ....................................................................................................... 62 Le film comme re-présentation ................................................................................................. 64 Fiction et réalité dans Les guichets du Louvre .......................................................................... 66 Les lieux de mémoire revisités ................................................................................................. 69 Walter Benjamin et Les guichets du Louvre ............................................................................. 71 Monsieur Klein : le rôle de l’Autre dans une représentation filmique ................................... 74 iii Objectivations et dépossessions ................................................................................................ 75 Comment interpréter la Shoah ? ............................................................................................... 76 Limites fictionnelles dans les reconstructions historiques ........................................................ 78 Représentations de la figure du juif dans la société française .................................................. 80 La mémoire collective à travers Monsieur Klein ...................................................................... 83 Le rôle du cinéma dans les représentations de la Shoah ........................................................... 86 L’utilisation du Vélodrome comme lieu de mémoire ............................................................... 88 Un événement qui vise tous les Français .................................................................................. 91 La Rafle : comment reconstruire ce passé au XXIe siècle ? .................................................... 94 Galerie de personnages et hiérarchisation ................................................................................. 95 Le rôle de l’oubli ..................................................................................................................... 100 Le réalisme traumatique .......................................................................................................... 102 Mimesis et poesis .................................................................................................................... 103 Lieu de mémoire et La Rafle ................................................................................................... 106 Elle s’appelait Sarah : le rôle de la temporalité dans une représentation filmique de la Shoah .......................................................................................................................................... 108 Les protagonistes
Load more

Recommended publications
  • Routledge Dictionary of Cultural References in Modern French
    About the Table of Contents of this eBook. The Table of Contents in this eBook may be off by 1 digit. To correctly navigate chapters, use the bookmark links in the bookmarks panel. The Routledge Dictionary of Cultural References in Modern French The Routledge Dictionary of Cultural References in Modern French reveals the hidden cultural dimension of contemporary French, as used in the press, going beyond the limited and purely lexical approach of traditional bilingual dictionaries. Even foreign learners of French who possess a good level of French often have difficulty in fully understanding French articles, not because of any linguistic shortcomings on their part but because of their inadequate knowledge of the cultural references. This cultural dictionary of French provides the reader with clear and concise expla- nations of the crucial cultural dimension behind the most frequently used words and phrases found in the contemporary French press. This vital background information, gathered here in this innovative and entertaining dictionary, will allow readers to go beyond a superficial understanding of the French press and the French language in general, to see the hidden yet implied cultural significance that is so transparent to the native speaker. Key features: a broad range of cultural references from the historical and literary to the popular and classical, with an in-depth analysis of punning mechanisms. over 3,000 cultural references explained a three-level indicator of frequency over 600 questions to test knowledge before and after reading. The Routledge Dictionary of Cultural References in Modern French is the ideal refer- ence for all undergraduate and postgraduate students of French seeking to enhance their understanding of the French language.
    [Show full text]
  • Le Rôle Du Gouvernement De Vichy Dans La Rafle Du Vel' D'hiv' Et Sa Mémoire Aux Yeux De La
    The College of Wooster Libraries Open Works Senior Independent Study Theses 2016 La Trahison et la honte : Le rôle du gouvernement de Vichy dans la rafle du elV ’ d’Hiv’ et sa mémoire aux yeux de la société française Olivia Bolek College of Wooster, [email protected] Follow this and additional works at: https://openworks.wooster.edu/independentstudy Part of the Other French and Francophone Language and Literature Commons Recommended Citation Bolek, Olivia, "La Trahison et la honte : Le rôle du gouvernement de Vichy dans la rafle du eV l’ d’Hiv’ et sa mémoire aux yeux de la société française" (2016). Senior Independent Study Theses. Paper 6979. https://openworks.wooster.edu/independentstudy/6979 This Senior Independent Study Thesis Exemplar is brought to you by Open Works, a service of The oC llege of Wooster Libraries. It has been accepted for inclusion in Senior Independent Study Theses by an authorized administrator of Open Works. For more information, please contact [email protected]. © Copyright 2016 Olivia Bolek Abstract While many people know that World War II France was occupied by the Germans, retaining little sovereignty in the de facto Vichy government, many may not realize the extent to which the French collaborated with their Nazi occupiers and how many anti-Semitic measures were in fact created by the Vichy government. After the war, the crimes committed by the French against the Jews became a taboo which slowly transformed over the years into what is today considered to be an obsession with the topic. These events are best demonstrated through the 1942 Vel’ d’Hiv’ roundup in which Parisian authorities gathered over 13,000 Jews, detaining over half of them in the Vélodrome d’Hiver, an indoor cycling arena in Paris, for almost a week without food, water, or sanitation.
    [Show full text]
  • Of Gods and Men
    Mongrel Media Presents OF GODS AND MEN A Film by Xavier Beauvois (120 min., France, 2010) Distribution Publicity Bonne Smith 1028 Queen Street West Star PR Toronto, Ontario, Canada, M6J 1H6 Tel: 416-488-4436 Tel: 416-516-9775 Fax: 416-516-0651 Fax: 416-488-8438 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com High res stills may be downloaded from http://www.mongrelmedia.com/press.html SYNOPSIS Eight French Christian monks live in harmony with their Muslim brothers in a monastery perched in the mountains of North Africa in the 1990s. When a crew of foreign workers is massacred by an Islamic fundamentalist group, fear sweeps though the region. The army offers them protection, but the monks refuse. Should they leave? Despite the growing menace in their midst, they slowly realize that they have no choice but to stay… come what may. This film is loosely based on the life of the Cistercian monks of Tibhirine in Algeria, from 1993 until their kidnapping in 1996. PREAMBLE In 1996 the kidnapping and murder of the seven French monks of Tibhirine was one of the culminating points of the violence and atrocities in Algeria resulting from the confrontation between the government and extremist terrorist groups that wanted to overthrow it. The disappearance of the monks – caught in a vice between both sides- had a great and long-lasting effect on the governments, religious communities and international public opinion. The identity of the murderers and the exact circumstances of the monks‟ deaths remain a mystery to this day.
    [Show full text]
  • The Inventory of the Richard Roud Collection #1117
    The Inventory of the Richard Roud Collection #1117 Howard Gotlieb Archival Research Center ROOD, RICHARD #1117 September 1989 - June 1997 Biography: Richard Roud ( 1929-1989), as director of both the New York and London Film Festivals, was responsible for both discovering and introducing to a wider audience many of the important directors of the latter half th of the 20 - century (many of whom he knew personally) including Bernardo Bertolucci, Robert Bresson, Luis Buiiuel, R.W. Fassbinder, Jean-Luc Godard, Werner Herzog, Terry Malick, Ermanno Ohni, Jacques Rivette and Martin Scorsese. He was an author of books on Jean-Marie Straub, Jean-Luc Godard, Max Ophuls, and Henri Langlois, as well as the editor of CINEMA: A CRITICAL DICTIONARY. In addition, Mr. Roud wrote extensive criticism on film, the theater and other visual arts for The Manchester Guardian and Sight and Sound and was an occasional contributor to many other publications. At his death he was working on an authorized biography of Fran9ois Truffaut and a book on New Wave film. Richard Roud was a Fulbright recipient and a Chevalier in the Legion of Honor. Scope and contents: The Roud Collection (9 Paige boxes, 2 Manuscript boxes and 3 Packages) consists primarily of book research, articles by RR and printed matter related to the New York Film Festival and prominent directors. Material on Jean-Luc Godard, Francois Truffaut and Henri Langlois is particularly extensive. Though considerably smaller, the Correspondence file contains personal letters from many important directors (see List ofNotable Correspondents). The Photographs file contains an eclectic group of movie stills.
    [Show full text]
  • A Film by Catherine BREILLAT Jean-François Lepetit Présents
    a film by Catherine BREILLAT Jean-François Lepetit présents WORLD SALES: PYRAMIDE INTERNATIONAL FOR FLASH FILMS Asia Argento IN PARIS: PRESSE: AS COMMUNICATION 5, rue du Chevalier de Saint George Alexandra Schamis, Sandra Cornevaux 75008 Paris France www.pyramidefilms.com/pyramideinternational/ IN PARIS: Phone: +33 1 42 96 02 20 11 bis rue Magellan 75008 Paris Fax: +33 1 40 20 05 51 Phone: +33 (1) 47 23 00 02 [email protected] Fax: +33 (1) 47 23 00 01 a film by Catherine BREILLAT IN CANNES: IN CANNES: with Cannes Market Riviera - Booth : N10 Alexandra Schamis: +33 (0)6 07 37 10 30 Fu’ad Aït Aattou Phone: 04.92.99.33.25 Sandra Cornevaux: +33 (0)6 20 41 49 55 Roxane Mesquida Contacts : Valentina Merli - Yoann Ubermulhin [email protected] Claude Sarraute Yolande Moreau Michael Lonsdale 114 minutes French release date: 30th May 2007 Screenplay: Catherine Breillat Adapted from the eponymous novel by Jules Barbey d’Aurevilly Download photos & press kit on www.studiocanal-distribution.com Produced by Jean-François Lepetit The storyline This future wedding is on everyone’s lips. The young and dissolute Ryno de Marigny is betrothed to marry Hermangarde, an extremely virtuous gem of the French aristocracy. But some, who wish to prevent the union, despite the young couples’ mutual love, whisper that the young man will never break off his passionate love affair with Vellini, which has been going on for years. In a whirlpool of confidences, betrayals and secrets, facing conventions and destiny, feelings will prove their strength is invincible... Interview with Catherine Breillat Film Director Photo: Guillaume LAVIT d’HAUTEFORT © Flach Film d’HAUTEFORT Guillaume LAVIT Photo: The idea “When I first met producer Jean-François Lepetit, the idea the Marquise de Flers, I am absolutely “18th century”.
    [Show full text]
  • Of Gods and Men
    A Sony Pictures Classics Release Armada Films and Why Not Productions present OF GODS AND MEN A film by Xavier Beauvois Starring Lambert Wilson and Michael Lonsdale France's official selection for the 83rd Academy Award for Best Foreign Language Film 2010 Official Selections: Toronto International Film Festival | Telluride Film Festival | New York Film Festival Nominee: 2010 European Film Award for Best Film Nominee: 2010 Carlo di Palma European Cinematographer, European Film Award Winner: Grand Prix; Ecumenical Jury Prize - 2010Cannes Film Festival Winner: Best Foreign Language Film, 2010 National Board of Review Winner: FIPRESCI Award for Best Foreign Language Film of the Year, 2011 Palm Springs International Film Festival www.ofgodsandmenmovie.com Release Date (NY/LA): 02/25/2011 | TRT: 120 min MPAA: Rated PG-13 | Language: French East Coast Publicist West Coast Publicist Distributor Sophie Gluck & Associates Block-Korenbrot Sony Pictures Classics Sophie Gluck Ziggy Kozlowski Carmelo Pirrone 124 West 79th St. Melody Korenbrot Lindsay Macik New York, NY 10024 110 S. Fairfax Ave., Ste 310 550 Madison Avenue Phone (212) 595-2432 Los Angeles, CA 90036 New York, NY 10022 [email protected] Phone (323) 634-7001 Phone (212) 833-8833 Fax (323) 634-7030 Fax (212) 833-8844 SYNOPSIS Eight French Christian monks live in harmony with their Muslim brothers in a monastery perched in the mountains of North Africa in the 1990s. When a crew of foreign workers is massacred by an Islamic fundamentalist group, fear sweeps though the region. The army offers them protection, but the monks refuse. Should they leave? Despite the growing menace in their midst, they slowly realize that they have no choice but to stay… come what may.
    [Show full text]
  • Iii S Ic Il Ia Q U E E R 2 0 1 8 Int E R Na T Io Na
    III SICILIA QUEER 2018 INTERNATIONAL NEW VISIONS FILMFEST prodotto da con il contributo di con il sostegno di sposor tecnici principali in collaborazione con sponsor tecnici media partner festival partner SICILIA QUEER 2018 INTERNATIONAL NEW VISIONS FILMFEST Palermo Cantieri Culturali alla Zisa ottava edizione 31 maggio — 6 giugno / eighth edition 31 may – 6 june SICILIA QUEER 2018 assistenza e traduzioni sottotitoli letterature queer catalogo CAST & CREDITS assistance and subtitles translation Mirko Lino Eugenio Bisanti, Manuela Cacioppo, a cura di / edited by produzione e organizzazione Nicoletta Scapparone, Giuliana Scolaro proiezioni / screenings Andrea Inzerillo / production and organization Rino Cammarata, Marcello Buccheri, Associazione Culturale Sicilia Queer, retrovie italiane Danilo Flachi, Angelo Mattatresa, redazione testi / texts Associazione Culturale Sudtitles Umberto Cantone Franco Rizzuto, Fulvio Baglivi, Eric Biagi, Umberto Cantone, Roy Dib, Serge Daney, direttore artistico / artistic director curatela arti visive premi / awards Donato Faruolo, Andrea Inzerillo, Andrea Inzerillo Antonio Leone Daniele Franzella, Vincenzo Vizzari Antonio Leone, Raafat Majzoub, (Cittacotte) Jacques Nolot direttore organizzativo segreteria di giuria / jury secretary / organizational director Emmanuelle Bouhours party nudo / party nudo schede / film records Tatiana Lo Iacono Chiara Bonanno, Eleonora Giammanco, Cecilia Chianese, Alessio Librizzi, segreteria organizzativa Alessio Librizzi, Pietro Pitarresi Giorgio Lisciandrello, Roberto Nisi,
    [Show full text]
  • The Shoah on Screen – Representing Crimes Against Humanity Big Screen, Film-Makers Generally Have to Address the Key Question of Realism
    Mémoi In attempting to portray the Holocaust and crimes against humanity on the The Shoah on screen – representing crimes against humanity big screen, film-makers generally have to address the key question of realism. This is both an ethical and an artistic issue. The full range of approaches has emember been adopted, covering documentaries and fiction, historical reconstructions such as Steven Spielberg’s Schindler’s List, depicting reality in all its details, and more symbolic films such as Roberto Benigni’s Life is beautiful. Some films have been very controversial, and it is important to understand why. Is cinema the best way of informing the younger generations about what moire took place, or should this perhaps be left, for example, to CD-Roms, videos Memoi or archive collections? What is the difference between these and the cinema as an art form? Is it possible to inform and appeal to the emotions without being explicit? Is emotion itself, though often very intense, not ambivalent? These are the questions addressed by this book which sets out to show that the cinema, a major art form today, cannot merely depict the horrors of concentration camps but must also nurture greater sensitivity among increas- Mémoire ingly younger audiences, inured by the many images of violence conveyed in the media. ireRemem moireRem The Shoah on screen – www.coe.int Representing crimes The Council of Europe has 47 member states, covering virtually the entire continent of Europe. It seeks to develop common democratic and legal princi- against humanity ples based on the European Convention on Human Rights and other reference texts on the protection of individuals.
    [Show full text]
  • La Lettre De Michel Urban
    La Lettre de Michel Urban 176 mai 2015 3 pages [email protected] Si vous recevez cette Lettre, vous pouvez a) la détruire, b) me demander de ne plus vous l’envoyer, c) la faire suivre, d) la commenter et discuter. C’est curieux. Récemment je pensais à Christian Didier, le déodatien « assassin de Bousquet » qui a été porté en terre mardi. L’histoire est la suivante. Les excellentes « Editions de la Pigne » de l’ami Jean-Marc à Saint-Dié viennent de sortir « Souscription pour l’édification d’un monument au Policier inconnu » de Maurice Rajsfus. Ce nom me disait quelque chose, mais je me trompais…{ moitié. Je croyais me souvenir, { tort, que M. Rajsfus était l’auteur de « L’homme qui tua René Bousquet » (Stock, 2001), qui n’est pas tendre avec Christian Didier. C’est Henri Raczimow qui, grossièrement résumé, se range dans le camp de ceux qui reprochent { Christian Didier de priver la France et les victimes d’un procès de René Bousquet [assassiné par Ch. Didier le 8 juin 1993] Maurice Rajsfus alors ? On y revient parce qu’il est lui l’auteur d’un papier fameux dans Libération [2 novembre 1995] où, à la veille de son procès, il défend Christian Didier. Il est dans le groupe de ceux qui estiment qu’attendre un procès de Bousquet était illusoire. Ne ressentant nul besoin de « consulter », je n’ai pas eu l’occasion de feuilleter « Paris Match » [23 avril 2015] en salle d’attente. Christian Didier y réclame une « réhabilitation » [il avait été condamné à 10 ans] en soutenant l’idée que le procès de Bousquet n’aurait jamais eu lieu mais que son procès en réhabilitation en…tiendrait lieu.
    [Show full text]
  • The General Brock Journal 2
    The General Brock University Undergraduate Journal of History Volume 3 April 2018 ISSN 2371-8048 Brock University, St. Catharines, Ontario The General Brock University Undergraduate Journal of History Editors-in-Chief Matt Jagas and Grace Viana Editorial Board Amanda Balyk Kaitlyn Carter Lucas Coia Rebecca Nickerson Vince Savoia Cover Design Chance Mutuku Special Thanks The Brock University History Department The Brock University Historical Society Brock University Printing and Digital Services Dr. Jessica Clark, Assistant Professor Dr. Colin Rose, Assistant Professor Dr. Daniel Samson, Associate Professor and Chair Tim Ribaric, Digital Services Librarian Niagara Military Museum Contents Foreword By: Dr. Colin Rose 5 Introduction By: Matt Jagas and Grace Viana 7 Early Modern Midwives: Carving a Path in the Male-Dominated Field of Medicine By: Rachel Bedic 9 The United States and Sputnik: a Reassessment of Dwight D. Eisenhower's Presidential Legacy By: Matthew Bologna 29 The Spectacle of Death By: Carina Cino 55 “The Last Battayle is Atte Hande”: Conceptions of Death in Renaissance Italy By: Lucas Coia 77 The Trials of Jamestown: an Investigation of the External Factors Influencing England’s First American Colony By: Ally Dries 101 Science versus ‘Science’: Exploring the Life of Benjamin Banneker in the Context of Thomas Jefferson’s Views in Notes on the State of Virginia By: Emma Evans 111 Art in Early Modern Italy: Artemisia Gentileschi and Caravaggio By: Joslin Holwerda 122 The Trials and Significance of Nazi War Criminals and Collaborators in France By: Gabrielle Marshall 150 Vietnamese Farmers That Changed the World: the Impact of the Vietnam War on the Cold War By: Michael Martignago 163 The Formidable Widow: a Comparison of Representations and Life Accounts of Widows in Early Seventeenth-Century England By: Rebecca Nickerson 191 Enemies Within or Without Enemies: “Enemy Aliens” and Internment in Canada during the Second World War By: Tricia Nowicki, with an introduction by Dr.
    [Show full text]
  • Download (4Mb)
    A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/89549 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications Talking to France: Radio Propaganda from 1940 to 1942 by Denis Courtois A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in History The University of Warwick, Department of History September 2016 i Contents Acknowledgements .....................................................................................................v Abstract ..........................................................................................................................vi Figures........................................................................................................................... vii Copyright Acknowledgements.............................................................................viii Translations and Terminology...............................................................................ix Abbreviations ................................................................................................................x Introduction...................................................................................................................1
    [Show full text]
  • Juc Version Eleve15-08Red.Pdf
    Madeline Fouquet Juste une cachette Livret d’accompagnement pédagogique Table des matières Préface p. 5 Introduction 1 La France de l’entre-deux guerres p. 7 2. L’armistice et l’Etat français p. 10 3. L’antisémitisme sous le régime de Vichy p. 13 4. La rafle du Vel d’Hiv p. 16 5. La vie dans les camps d’internement p. 20 6. Les actions de sauvetage p. 26 Juste une cachette 7. Biographie de M. Fouquet p. 39 8. Liste des principaux personnages p. 40 9. Synopsis de la pièce p. 43 10. Scène 3 p. 48 11. Scène 7 p. 52 12 Scène 16 p. 56 13. Bibliographie, filmographie, pistes d’approfondissement p. 59 14. Propositions de corrigés p. 63 15. Crédits p. 84 Préface Chères et chers élèves Au printemps 2013, à l’instigation de M. le Ministre-président de la Saxe-Anhalt, M. Reiner Haseloff et du Président de la Région Centre, M. François Bonneau, un groupe composé de représentants des deux régions a été chargé d’élaborer un programme pédagogique destiné à réfléchir sur les modes spécifiques selon lesquels on enseigne la Shoah des deux côtés du Rhin, ainsi que sur de nouvelles démarches à mettre en œuvre pour promouvoir un tel enseignement qui perpétue le souvenir tout en participant d’une démarche d’éducation à la citoyenneté européenne. Dans le cadre de ce projet intitulé « Mémoires croisées : sich erinnern, sich begegnen », l’idée est née de faire représenter en Saxe-Anhalt Juste une cachette, une pièce de Mme Madeline Fouquet, qui a connu en grand succès en France et a, dans l’intervalle, été homologuée par la Mission du 70e anniversaire de la Résistance » du Ministère de la Défense.1 Afin que vous profitiez au mieux de la représentation, il nous a semblé indispensable que vous puissiez la préparer avec vos enseignants de français.
    [Show full text]