Documentary cinema and memory of political violence in post-authoritarian Morocco and Tunisia (2009–2015)
Documentary cinema and memory of political violence in post-authoritarian Morocco and Tunisia (2009–2015)
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纪录片和后独裁摩洛哥和突尼斯政治暴力的记忆（2009-2015）
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发表时间：
2018
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通讯作者：
Marie Pierre
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作者：
Marie Pierre
摘要在哈桑二世去世(1999年)和本·阿里被赶下台(2011年)之后，摩洛哥和突尼斯民间社会对他们在位期间发生的政治暴力问题提出了质疑。纪录片是一种非常适合传达助记证词的媒介，很快就解决了这个问题。电影制作人是如何适应这种紧张的政治背景的？他们做出了什么选择来上演助记演讲，他们取得了哪些电影和纪念成就？本文描述了不同的纪录片项目，将它们放在各自的背景下，讨论制约电影制作的可能性和限制，并探索电影制作与这些社会中发生的司法和助记程序的关系。因此，纪录片的各种概念被揭示出来，从被视为仅仅是证据、证词和文件的纪录片图像，到摩洛哥和突尼斯电影制作人的作品，他们对自己作为电影中描绘的现实的创作者、采访者、舞台演员、叙述者和编辑的影响进行了自我反思。因此，突出了两国正在进行的助记进程中的重大差异。
ABSTRACT After the death of Hassan II (1999) and the ousting of Ben Ali (2011), the issue of the political violence that had been perpetrated during their reigns was put to question by Moroccan and Tunisian civil society. Documentary cinema, a medium well suited for conveying mnemonic testimony, soon tackled the subject. How did filmmakers adapt to this tense political context? What choices did they make to stage a mnemonic discourse, and what cinematographic and memorial achievements did they reach? This paper describes various documentary projects, placing them in their respective contexts, to discuss the possibilities and limits that conditioned filmmaking, and to explore the relationship of filmmaking to the judicial and mnemonic processes taking place in these societies. Various conceptions of documentary film are thus revealed, from documentary image considered as mere proof, testimony and document, to works by Moroccan and Tunisian filmmakers who are self-reflexive about their impact as creators, interviewers, stagers, narrators and editors of the reality depicted in their films. Significant differences in the mnemonic processes underway in the two countries are thus highlighted.