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

自2000年以来，法国是与恐怖主义有关的死亡人数最多的欧洲国家，法国及其对恐怖主义的态度的意义远远超出了本国边界。人们对2015年《查理周刊》和巴塔克兰恐怖袭击的反应表明，这些恐怖事件在法国领土上蔓延至全球，并将法国定位为西方城市生活方式的象征，这些城市生活方式正受到威胁。分析视觉文化是如何处理这些事件的，可以揭示更广泛的政治、伦理和文化对恐怖主义的反应。作为欧洲最大的电影出口国，拥有全球瞩目的电影业，法国电影制片人现在开始将注意力转向这一现象。因此，现在是时候让学术界以单一的分析来考虑法国电影对其与恐怖主义的新关系的反应，详细说明恐怖主义在法国的电影表现，并通过超越主导当前文学的9/11之前和之后的二分法来更新对电影中恐怖主义的研究。近年来，人们对法国和恐怖主义之间的社会政治关系越来越感兴趣，普莱内尔(2016)、巴迪欧(2016)和凯佩尔(2015)以及全球电影恐怖主义历史，特别是巴特勒(2006)、肖(2015)和科默和瓦约(2013)所探索的那样。然而，前一组文本缺乏对电影等重要文化作品的密切考虑，而后者仍然高度关注9/11袭击。自2015年恐怖袭击以来，法国电影制片人已经开始发行各种处理恐怖主义的电影，这是探索这些社会政治问题及其对法国恐怖主义表现的影响的好时机，以回答法国人对这一新现象的及时态度。早在第一次世界大战时，法国导演就探索了表现创伤事件的伦理问题。《幻影》(Jean Renoir，1937)因雷诺阿拒绝代表战争而成为一部著名的反战电影，引起了人们对基于民族认同的战争的徒劳的关注。第二次世界大战后，像《阿兰·雷奈》(Alain ResNais，1956)这样的纪录片和《广岛我的爱》(Hiroshima Monamour，Alain ResNais，1959)这样的实验电影挑战了电影表现大屠杀、纳粹占领法国和广岛轰炸的创伤的能力，揭示了这些事件无法接触的困境，这些事件是暂时固定在遥不可及的过去的，正如雷奈斯在《广岛我的爱》中探索的那样，那些不在活动现场的人不能挪用这些事件。《查理周刊》枪击案和巴塔克兰枪击案的幸存者在本语料库考虑的纪录片中都表达了这种情绪。两名幸存者目击者都表示，他们更愿意将自己的经历保密。

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.