Approaching terrorism on screen: contemporary film and television in France and Belgium

银幕上的恐怖主义：法国和比利时的当代电影和电视

• 批准号: 2301201
• 金额: --
• 依托单位: University of Manchester
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2019
• 资助国家: 英国
• 起止时间: 2019 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2301201
• 关键词: Approaching; terrorism; screen; contemporary; film

As the European country with the highest number of terrorism-related fatalities since 2000, France and its approach to terrorism has significance well beyond its own borders. The reaction to the fateful Charlie Hebdo and Bataclan attacks of 2015 illustrates the global reach of those terrorist events that unfold on French soil, and has positioned France as a symbol of urban western lifestyles that have come under threat. Analysing how visual culture approaches these events can shed light on broader political, ethical, and cultural responses to terrorism. As the largest exporter of films in Europe with a globally admired film industry, France's filmmakers have now begun to turn their attention to this phenomenon. As such, the time has come for scholarship to consider France's cinematic reaction to its new relationship with terrorism in a singular analysis, particularising the cinematic manifestations of terrorism in France, and updating the study of terrorism in film by moving beyond the dichotomous pre- and post-9/11 approaches that dominate the current literature. In recent years, there has been an increased interest in the socio-political relationship between France and terrorism, as explored by Plenel (2016), Badiou (2016), and Kepel (2015), and also in the global history of terrorism on film, particularly by Butler (2006), Shaw (2015), and Comer and Vayo (2013). However, the former group of texts lacks close consideration of important cultural works such as films, and the latter remains heavily focused on the 9/11 attacks. Now that French film makers have begun to release a variety of films dealing with terrorism since the 2015 attacks, this is the opportune moment to explore these socio-political questions and their impact on French representations of terrorism, to answer the timely question of French attitudes towards this new phenomenon.From as early as the First World War, French directors have explored the ethical aspects of representing traumatic events. La Grande Illusion (Jean Renoir, 1937) became known as an anti-war film as a result of Renoir's refusal to represent battle, drawing attention to the futility of war based onnational identity. Following the Second World War, documentaries like Nuit et Brouillard (Alain Resnais,1956) and experimental films such as Hiroshima mon Amour (Alain Resnais, 1959) challenged cinema's ability to represent the traumas of the Holocaust, the Nazi occupation of France, and the Hiroshima bombing, revealing the dilemma of the inaccessibility to these events, which are temporally fixed in the unreachable past, and, as Resnais explores in Hiroshima mon Amour, cannot be appropriated by those who were not present at the events. Such a sentiment is expressed by survivors from both the Charlie Hebdo shootings and the Bataclan attack in documentaries considered within this corpus. Both survivor witnesses remark that they prefer to keep what they experienced to themselves.

作为2000年以来与恐怖主义有关的死亡人数最多的欧洲国家，法国及其反恐方法的重要性远远超出其国界。对2015年致命的《查理周刊》和巴塔克兰袭击事件的反应表明，在法国领土上发生的这些恐怖事件在全球范围内蔓延，并使法国成为西方城市生活方式受到威胁的象征。分析视觉文化如何处理这些事件可以揭示更广泛的政治，道德和文化对恐怖主义的反应。作为欧洲最大的电影出口国，法国的电影业受到全球的赞赏，法国的电影制片人现在已经开始将注意力转向这一现象。因此，是时候让学术界考虑法国的电影反应，其与恐怖主义的新关系，在一个单一的分析，特别是恐怖主义在法国的电影表现形式，并更新的恐怖主义在电影的研究超越二分法前和后9/11的方法，占主导地位的当前文学。近年来，人们对法国与恐怖主义之间的社会政治关系越来越感兴趣，如Plenel（2016），Badiou（2016）和Kepel（2015）所探讨的那样，以及全球恐怖主义电影史，特别是Butler（2006），Shaw（2015），Comer和Vayo（2013）。然而，前一组文本缺乏对重要文化作品（如电影）的密切关注，后者仍然主要集中在9/11袭击事件上。自2015年恐怖袭击以来，法国电影制作人已经开始发行各种关于恐怖主义的电影，这是探讨这些社会政治问题及其对法国恐怖主义表现的影响的最佳时机，以回答法国对这一新现象的态度的及时问题。早在第一次世界大战期间，法国导演就探索了表现创伤事件的道德方面。《大幻觉》（让·雷诺阿，1937年）因雷诺阿拒绝表现战争而被称为反战电影，引起人们对基于民族认同的战争的徒劳的关注。第二次世界大战之后，像《夜与布鲁亚尔》这样的纪录片（阿兰·雷奈，1956）和实验电影，如《广岛之恋（阿兰·雷奈，1959）挑战了电影表现大屠杀、纳粹占领法国和广岛爆炸的创伤的能力，揭示了这些事件在时间上固定在不可触及的过去的困境，正如雷奈在《广岛之恋》中所探讨的那样，不可能被那些不在场的人所占有。《查理周刊》枪击案和巴塔克兰袭击案的幸存者在本文集中考虑的纪录片中表达了这种情绪。两名幸存者证人都说，他们宁愿把自己的经历留给自己。