Then we remember what was called "the news".

[shishir.seoexpert1]

Some soldiers themselves had "Kodak vest pockets". They documented life in the trenches. Precious testimonies, essential for understanding what this great massacre of men was.



In just under 50 years, the image has been placed at the center of tensions between government, journalist and public. Its value, now known, could be limitless. Economically, politically very costly.

Moving images for the masses




Every Wednesday, the French went to the cinema to watch gambling data america the screening of Actualités françaises, Fox Movietone, and Actualités Gaumont. Sententious voices, spectacles of a world that was, after all, happy, the major dailies critiqued these agency films every Wednesday, as one critiques the work of a famous director. Great moments of history thus paraded before the eyes of all generations. Intrepid operators had been there at the right time. Serge Viallet's series "History Catchers" on ARTE is fascinating from this point of view.

And then there was that day in 1950 in Nogentel in the Aisne. A teacher was teaching the inhabitants of the small village a new show called: television news. His name was Roger Louis and he also used his teaching of the image to his advantage for himself as a senior reporter for the magazine "5 colonnes à la Une".



Here again, the tension was high. The story is more than well-known. The General's television was under a bell jar, with a few narrow spaces of freedom in information. 5 Colonnes was one of them, because Pierre Lazareff, the boss of the weekly show, was close to the head of state. The images were scrutinized, weighed, crossed out in surreal projections in the presence of the censors. The value of the information image defined in some way by the economy of the forbidden.