- THE EXHIBITION
- Foreword
- John Ford and the beginning
of the FPB - George Stevens and
the Special Coverage Unit - The SPECOU enters Dachau
- Samuel Fuller, between
documentary and fiction - Nuremberg: collecting
pictures as evidence - AROUND THE EXHIBITION
- Cycles of films, lectures
- Filmography
- VISITING INFORMATIONS
Cycles of films, lectures
March 10th, 7:30 pm
Screening - inaugural meeting
"Falkenau, vision of the impossible" Samuel Fuller t moigne.
From
(France, documentary, 1988, 52min, Michkan World Productions and Doriane Films)
With the support of the Foundation for the Memory of the Shoah
May 1945, the first infantry division of the army and army delivers its last combat in Europe in the South of Slovakia and liberates the concentration camp of Falkenau. Thanks to a cam ra that he sent his mother, Samuel Fuller, member of this 'Big Red One', films this song.
1988: after a short introduction about the filming conditions and the preparation of the camp’s liberation, Samuel Fuller comments on this unique document. For having been unaware of what was happening in the camp, the notables of the town of Falkenau will have to give a drive to the interns. Samuel Fuller also wonders about the truth of the images, about the possibility of representing the concentrationary universe and about the need to pass on the memory to young people.
In the presence of
Anim by
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March 11th, 8 pm
Meeting-screenings
The Typewriter, the Rifle & the Movie Camera
From
(Great Britain and USA, documentary, 1996, 55 min, vostf, British Film Institute)
With
This documentary traces the journey of
In the presence of
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March 14th, 2 pm
Projection
The Diary of Anne Frank
From
(Usa, fiction, 1959, 171 min, vostf, 20th Century Fox)
With
For the anniversary of her thirteenth birthday, on June 12, 1942, Anne Frank receives a diary on which she writes about her daily life Kitty, her imaginary confidante. On July 6, to cover for moth-killing activities, the Frank family enters into clandestinit. R fugi s at the last building of an office building, their life is organized but, two years later, they will be stopped on August 4, 1944.
The character insists, in the last moments of the film, on the decision of Anne, leaving the clandestine apartment that she calls the Annex, to leave the newspaper there on her work table. She wants her friend Miep to find him and for him to take on the dimension of motioning.
Presentation by
Screening of an excerpt from the film
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6 pm
Projection-meeting
The Big Red One
From
(Usa, fiction, 1980, 113 min, vostf, Warner)
With
Inspired by the memories of Samuel Fuller, The Big Red One shows the commitment of four young GI’s and their sergeant in the prestigious 'Big Red One' (the first infantry division of the army and army) from the entry into war of the United States to the liberation of the Falkenau camp.
Each character, Griff the sensitive, Vinci the cunning rogue, Johnson the innocent, and Zab the Crivain, the cigar-smoking journalist (the most alter ego of the criminal), finally the sergeant, a death figure, feel fragments of Fuller’s personality.
In the presence of
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March 16th, 7 pm
Projection-meeting
George Stevens: A filmmaker’s Journey
From
(USA, documentary, 1984-85, 90 min, vostf, American Broadcasting Company, Creative Film Center)
Written about the life and work of the director am ricain George Stevens, written by his son. It shows, among other things, that his involvement in the army and army during the Second World War profoundly changed his career.
Followed by:
George Stevens: D Day to Berlin
From
(USA, documentary, 1994, 46 min, vostf, New Liberty Productions)
While the cameramen placed under his direction recorded views of the entire advance, from Normandy to Berlin, George Stevens captured personally and with a 16mm cam ra in colors everyday or exceptional moments of this unique adventure.
In the presence of
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March 18th, 7 pm
Meeting-screenings
Death Mills
From
Written by
(USA, 1945, documentary, 22 min, n&b, vosta, U.S. Army Signal Corps)
This film was created to be shown to the Germans and the Austrians during the Nazi campaign of 1946-1948. Combining static images, Polish but also from American sources, it shows what the Alli covered during the liberation of the camps.
Memory of the camps
From
(Great-Britain, 1985, documentary, 56 min, n&b, vostf, Frontline)
This documentary was created in 1945 at the initiative of the British Ministry of Information and the American War Intelligence Office. For its realization, Sidney Bernstein, who benefited from the advice of Alfred Hitchcock, placed the montage of images from the camps of Buchenwald, Dachau, and Bergen-Belsen under the register of the v rit of the plan-s quence.
In the presence of
Commentary on excerpts from the film
and projection of rushes in said of
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March 22nd, 7 pm
Meeting-screenings
Majdanek: Scimitar re of Europe (Majdanek, Cmetarzysko Europy)
From Aleksander Ford
(Poland/USSR, 1944, documentary, 21 min, vosta, Filmoteka Narodowa)
Tourn during time 44, at the time of the liberation from the camp of Majdanek, this film is directed by a double team: the very young military studio of the Polish arm, "Wytwórnia Filmowej Wojska Polskiego", then directed by the Polish Jewish director Aleksander Ford, and Le Studio central du cin ma documentaire, group directed by Roman Karmen, important Russian Jewish journalist and documentary filmmaker.
The Cross
From
(Poland, USSR, 1945, documentary, 20 min, b&w, vo, Filmoteka Narodowa)
The production of the six SS guards and kapos captured in Lublin at the end of November 1944. A rare film, shown for the first time in France.
In the presence of
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Location: Auditorium
Edmond J.Safra
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