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As you will have understood, for him it was a question of recording the major judicial hearings that deserve to be, those that have an event dimension worthy of the name , states in substance the text that legislates. Enough to constitute audiovisual archives of justice. It is the " delivery of the Nazi Barbie " according to R. Badinter, and the trial that was to follow, which allowed according to the former Minister of Justice to vote for the filming of trials, nevertheless accompanied by strict conditions. Today, he adds however, that of this project, " a part has not yet been realized ".

What is missing is daily justice, the restitution gambling data myanmar in images of many jurisdictions up to those of work for example. Precisely, what his successor wishes to do. With, the confirmation in passing that testimonies for history and pedagogy are once again preponderant in the argument in favor of the image. But there is much more…And this more is to be sought in the birth certificate of the image/justice couple . Nuremberg, the birthplace of the image of justice



It was in Nuremberg on November 20, 1945. A historical circumstance of prime importance to grasp the stakes of filming a trial. A double stake, seeing and showing . Legally, it was a question of judging important leaders of the Third Reich, of assessing among other things their responsibility in the face of charges such as crimes against peace and conspiracy, war crimes. The new notion of crimes against humanity introduced at the time, being here limited in its definition, as in time. Genocide, the final solution, as it was then called before the word Shoah, was far from constituting the main part of the debates. The judgment ultimately only had a few pages devoted to the elimination of the Jews. However, the image was there. The courtroom exposed, made the horror heard despite the hubbub of the comings and goings in the courtroom, or the noise of the simultaneous translation. There was the screening on screen of films made by the cameramen reporters at the liberation of the camps. John Ford had coordinated part of these filmings, as well as those of the trial itself.