This article examines Michael Haneke's 2005 film Caché and its treatment of the October 1961 massacre in light of recent scholarship about memory and trauma. It argues that the film demands of its viewers a complex, critical position, requiring us not merely to passively re-witness the traumatising events of 17 October, but to take on as spectators a more active role in the work of remembering. The article examines narrative and visual elements in the film in order to demonstrate how Caché illustrates and questions how film and other media forms contribute to the working through of collective trauma and, in so doing, function as potential 'sites of memory'. Cet article examine le film Caché (2005) de Michael Haneke et son traitement des massacres du 17 octobre 1961 à la lumière de la recherche récente sur la mémoire et le traumatisme. Il propose que le film exige de ses spectateurs une position critique et complexe. Dans Caché Haneke ne prétend pas nous faire revivre passivement les événements traumatisants du 17 octobre; il nous demande de prendre une part plus active au travail de mémoire. L'article démontre comment Caché illustre et met en question les façons dont le cinéma et d'autres formes médiatisées peuvent contribuer au travail de mémoire collective et, ce faisant, servir de 'lieux de mémoire' potentiels.What is denied or repressed in a lapse of memory does not disappear; it returns in a transformed, at times disfigured and disguised manner. (LaCapra 1998, p. 10) Moi, j'ai appris ça pas avant deux ans, par hasard, dans un documentaire dans ARTE sur cet événement en '61 et j'étais super choqué parce que je me disais, "Comment on peut avoir dans l'année 1961 200 morts qui sont dans la Seine et personne ne parle de ça pendant des années et des années?" Ç a m'a tellement irrité que je me disais mais on doit en parler dans ce contexte. (Haneke 2006)
This article examines the question of masculinity in the Heptaméron in the context of Marguerite de Navarre's evangelical faith. In particular, it analyzes Novella 65, which is recounted by Géburon, the oldest male storyteller or devisant in the Heptaméron . Géburon's age and declining physical condition have to some extent forced him off both the military and sexual battlefield. But this tired soldier is not merely interested in telling war stories. No longer able to perform his masculinity as in the past, Géburon turns to a new, more satisfying performance through the narrative act—that of keeping and protecting God's word. Novella 65 thus demonstrates efficiently how Marguerite de Navarre's narrative innovations are intricately connected to her religious beliefs.
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