Christian Delage
Caught on Camera
Film in the Courtroom from the Nuremberg Trials to the Trials of the Khmer Rouge
Herausgeber: Schoolcraft, Ralph / Übersetzer: Schoolcraft, Ralph; Kelly, Mary Byrd
Christian Delage
Caught on Camera
Film in the Courtroom from the Nuremberg Trials to the Trials of the Khmer Rouge
Herausgeber: Schoolcraft, Ralph / Übersetzer: Schoolcraft, Ralph; Kelly, Mary Byrd
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Combining the practical knowledge of a renowned director with the perspective of a historian and media specialist, Christian Delage explores the conditions and consequences of using film for the purposes of justice and memory by examining archival footage from war crime trials from Nuremberg to the present.
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Combining the practical knowledge of a renowned director with the perspective of a historian and media specialist, Christian Delage explores the conditions and consequences of using film for the purposes of justice and memory by examining archival footage from war crime trials from Nuremberg to the present.
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Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Produktdetails
- Produktdetails
- Verlag: University of Pennsylvania Press
- Seitenzahl: 352
- Erscheinungstermin: 5. Dezember 2013
- Englisch
- Abmessung: 231mm x 163mm x 33mm
- Gewicht: 726g
- ISBN-13: 9780812245561
- ISBN-10: 0812245563
- Artikelnr.: 38151192
- Herstellerkennzeichnung
- Produktsicherheitsverantwortliche/r
- Europaallee 1
- 36244 Bad Hersfeld
- gpsr@libri.de
- Verlag: University of Pennsylvania Press
- Seitenzahl: 352
- Erscheinungstermin: 5. Dezember 2013
- Englisch
- Abmessung: 231mm x 163mm x 33mm
- Gewicht: 726g
- ISBN-13: 9780812245561
- ISBN-10: 0812245563
- Artikelnr.: 38151192
- Herstellerkennzeichnung
- Produktsicherheitsverantwortliche/r
- Europaallee 1
- 36244 Bad Hersfeld
- gpsr@libri.de
Christian Delage is a historian and filmmaker based at the University of Paris-VIII, who has been elected the incoming Director of the Institut d'Histoire du Temps Present. He has also taught at the Institut d'Etudes Politiques (IEP) in Paris and the Cardozo Law School in New York. His film Nuremberg: The Nazis Facing Their Crimes, narrated by Christopher Plummer, was released in 2007 and is now available on DVD. He served as a policy advisor on the filming of the Khmer Rouge trials and produced Cameras in the Courtroom, a documentary about the filming of legal trials. Ralph Schoolcraft is Associate Professor of French at Texas AandM University. He is author of Romain Gary: The Man Who Sold His Shadow and translator of The Haunted Past: History, Memory, and Justice in Contemporary France by Henry Rousso, both available from the University of Pennsylvania Press. Mary Byrd Kelly teaches in the Department of French and Italian at the University of Kansas.
Editor's Note
Introduction
PART I. FILM AS EVIDENCE: AN AMERICAN JURISPRUDENCE (1920-1945)
Chapter 1. The Filmmaker, the Judge, and the Evidence
Chapter 2. The Camera: An Impartial Witness of Social Relations?
Chapter 3. Learning to Read Enemy Films
Chapter 4. Face to Face with Nazi Atrocities
PART II. THE STAKES OF THE INTERNATIONAL MILITARY TRIBUNAL (NUREMBERG,
1945-1946)
Chapter 5. "Establishing Incredible Events by Means of Credible Evidence"
Chapter 6. Getting Film into the Courtroom
Chapter 7. Catching the Enemy with Its Own Pictures
PART III. NUREMBERG HISTORY ON FILM
Chapter 8. The Un-United Nations and the Ideal of a Universal Justice
Chapter 9. Documentary Archives and Fictional Film Narratives
PART IV. THE ERA OF JUSTICE ON FILM (1945 TO THE PRESENT)
Chapter 10. Trials of the Present or the Past?
Chapter 11. Hearings on Film, Film in Hearings
Chapter 12. The Face of History
Chapter 13. The Spectator's Place
Chapter 14. Court Settings and Movie Stagings: From Nuremberg to the Khmer
Rouge Trial
Conclusion
Notes
Bibliography
Index
Acknowledgments
Introduction
PART I. FILM AS EVIDENCE: AN AMERICAN JURISPRUDENCE (1920-1945)
Chapter 1. The Filmmaker, the Judge, and the Evidence
Chapter 2. The Camera: An Impartial Witness of Social Relations?
Chapter 3. Learning to Read Enemy Films
Chapter 4. Face to Face with Nazi Atrocities
PART II. THE STAKES OF THE INTERNATIONAL MILITARY TRIBUNAL (NUREMBERG,
1945-1946)
Chapter 5. "Establishing Incredible Events by Means of Credible Evidence"
Chapter 6. Getting Film into the Courtroom
Chapter 7. Catching the Enemy with Its Own Pictures
PART III. NUREMBERG HISTORY ON FILM
Chapter 8. The Un-United Nations and the Ideal of a Universal Justice
Chapter 9. Documentary Archives and Fictional Film Narratives
PART IV. THE ERA OF JUSTICE ON FILM (1945 TO THE PRESENT)
Chapter 10. Trials of the Present or the Past?
Chapter 11. Hearings on Film, Film in Hearings
Chapter 12. The Face of History
Chapter 13. The Spectator's Place
Chapter 14. Court Settings and Movie Stagings: From Nuremberg to the Khmer
Rouge Trial
Conclusion
Notes
Bibliography
Index
Acknowledgments
Editor's Note
Introduction
PART I. FILM AS EVIDENCE: AN AMERICAN JURISPRUDENCE (1920-1945)
Chapter 1. The Filmmaker, the Judge, and the Evidence
Chapter 2. The Camera: An Impartial Witness of Social Relations?
Chapter 3. Learning to Read Enemy Films
Chapter 4. Face to Face with Nazi Atrocities
PART II. THE STAKES OF THE INTERNATIONAL MILITARY TRIBUNAL (NUREMBERG,
1945-1946)
Chapter 5. "Establishing Incredible Events by Means of Credible Evidence"
Chapter 6. Getting Film into the Courtroom
Chapter 7. Catching the Enemy with Its Own Pictures
PART III. NUREMBERG HISTORY ON FILM
Chapter 8. The Un-United Nations and the Ideal of a Universal Justice
Chapter 9. Documentary Archives and Fictional Film Narratives
PART IV. THE ERA OF JUSTICE ON FILM (1945 TO THE PRESENT)
Chapter 10. Trials of the Present or the Past?
Chapter 11. Hearings on Film, Film in Hearings
Chapter 12. The Face of History
Chapter 13. The Spectator's Place
Chapter 14. Court Settings and Movie Stagings: From Nuremberg to the Khmer
Rouge Trial
Conclusion
Notes
Bibliography
Index
Acknowledgments
Introduction
PART I. FILM AS EVIDENCE: AN AMERICAN JURISPRUDENCE (1920-1945)
Chapter 1. The Filmmaker, the Judge, and the Evidence
Chapter 2. The Camera: An Impartial Witness of Social Relations?
Chapter 3. Learning to Read Enemy Films
Chapter 4. Face to Face with Nazi Atrocities
PART II. THE STAKES OF THE INTERNATIONAL MILITARY TRIBUNAL (NUREMBERG,
1945-1946)
Chapter 5. "Establishing Incredible Events by Means of Credible Evidence"
Chapter 6. Getting Film into the Courtroom
Chapter 7. Catching the Enemy with Its Own Pictures
PART III. NUREMBERG HISTORY ON FILM
Chapter 8. The Un-United Nations and the Ideal of a Universal Justice
Chapter 9. Documentary Archives and Fictional Film Narratives
PART IV. THE ERA OF JUSTICE ON FILM (1945 TO THE PRESENT)
Chapter 10. Trials of the Present or the Past?
Chapter 11. Hearings on Film, Film in Hearings
Chapter 12. The Face of History
Chapter 13. The Spectator's Place
Chapter 14. Court Settings and Movie Stagings: From Nuremberg to the Khmer
Rouge Trial
Conclusion
Notes
Bibliography
Index
Acknowledgments