How to Leverage Meetups for Community-Driven Growth

[shishir.seoexpert1]

We are far from having filmed the entirety of the exchanges. But the reactions from the "dock of the accused" were observed, scrutinized, both in their posture and in their speeches, in the face of the questions, the films shown, the stories of the victims who described the unspeakable as best they could. Among them, the Frenchwoman Marie-Claude Vaillant-Couturier sums up well the primary function of Nuremberg. After having detailed almost clinically, the mechanics of the extermination at the microphone, the survivor of Auschwitz stood up. She had decided to stare at the accused, as she confides to Henri de Turenne in the film "The Nuremberg Trial" directed by Daniel Costelle.

" I wanted to see up close how men could be gambling data brazil capable of committing such crimes. And at the same time I wanted them to see me, and to know that through our eyes, it was the millions of victims... who were looking at them and judging them ."

Simply, film to allow one to see. To give one something to search for, to find a truth in a face, in words... That each one, judge, victim, or bystander, can conduct a sort of investigation in the secret of their conscience.

Eichman, giving a framework to the image of justice



After cinema, television was in turn confronted with the delicate question of filming a trial . The few principles outlined by the big screen were fixed for the small screen, implemented in a very constrained real device. Especially since this time, with the Eichmann trial , the Shoah was going to be placed at the very heart of the discussions, and what's more, in Israel.

On April 11, 1961, four operators, with well-defined roles – partly hidden so as not to disturb the proceedings – filmed the first moments of this trial broadcast, recorded in sound and video, in real time. The latest innovations in Marconi cameras were used, and the wide two-inch Ampex tapes made it possible to archive each day of the trial. Of the seven daily hours, one-hour montages were sent around the world. The precious book “Univers concentrationnaire et génocide. Voir, savoir, comprendre” signed by S. Lindeperg and A. Wieviorka is very rich in information on all this.