Abstract

Working between the Amos Gitai film One Day You’ll Understand (2008) and the 1987 Klaus Barbie trial against which it is set, the article explores how the trial marked a decisive turning point in France’s relationship to its wartime past. Of Barbie’s hundreds of crimes, including murder, torture, rape, and deportation, only those of the gravest nature, 41 separate counts of crimes against humanity, were pursued in the French court in Lyon. Not only did the trial raise crucial juridical questions involving the status of victims and the definition of crimes against humanity but, extending into the private sphere, it became the occasion for citizens to address heretofore silenced aspects of their own family histories and conduct trials of a more personal nature. Whereas the law in general seeks to contain historical trauma and to translate it into legal-conscious terminology, it is often the trauma that takes over, transforming the trial into “another scene” (Freud) in which an unmastered past is unwittingly repeated and unconsciously acted out. Such failures of translation, far from being simply legal shortcomings, open a space between grief and grievance, one through which it is possible to explore both how family secrets are disowned from one generation to the next, and how deeply flawed legal proceedings such as the Barbie trial may “release accumulated social toxins” (Kaplan) and thereby expose unaddressed dimensions of French postwar (and -colonial) history.

Highlights

  • Why would havecontemporary resorted to this cinematic sleight ofofhand?Order to draw watching the Gitai film that audiences—including, course,Was the it protagonist’s had in able to politics watch theoftrial live on in 1987

  • Barbie trial against which it is set, the article explores how the trial marked a decisive turning point in France’s relationship to its wartime past

  • In the opening pages of her study, Felman describes this dynamic between trials and trauma in the following terms: The law tries to contain the trauma and to translate it into legal-conscious terminology, reducing its strange interruption

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Summary

Why would havecontemporary resorted to this cinematic sleight ofofhand?

Order to draw watching the Gitai film that audiences—including, course,Was the it protagonist’s had in able to politics watch theoftrial live on in 1987. Attention tofact thebeen broadcast theproceedings times, a matter toFrench whichtelevision we will turn in a moment? Gitai have resortedto to the this central cinematic sleight ofconceit hand? Was it perhaps in order to has it Why a way of drawing attention narrative of the film? That conceit draw attention to the broadcast politics of the times, a matter to which we will turn in a moment?. To do with the interaction of private and public tribunals, with the implicit connection drawn in the was it a way of drawing attention to the central narrative conceit of theatfilm?

That conceit film between trials conducted behind closed doors in many
Douglas notes that Minister of Communications
Testimony of Figure ofLea
Victor he is now called
French town which his Jewish grandparents had been
For at the very moment
The film with increasing
How are we to understand this scene of transmission?
HowSurvival are we here to understand this scene transmission?
When in the end
In the we we come to to seesee that
The speed at which these memories pass is itself
Eiffel Tower
Retreating the daylight entered through the openwindow windowwhere whereVictor
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