Where Can I Get A Digital Belt Buckle In Canda

VISTA ON A WALL BETWEEN THE MASSACRE

Tuesday 25 November from 18:30
(Month Documentary)
"Perspectives on Massacre"
WALTZ WITH BASHIR Ari Folman
MASSAKER of Monika Borgmann, Lokman Slim
In partnership with
Mediatheque Louis Aragon and Alinea
With Pierre Stambul Vice President UJFP
(Union of French Jewish for Peace)

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MASSAKER
A film by Monika Borgmann, Lokman Slim and Hermann Theissen





From 16 to 18 September 1982 for two nights and three days, "Sabra and Shatila," capital of the Palestinian presence civil, political and military Lebanon is set to fire and blood.
Twenty years later, six participants in the massacre that shocked the world public for the first time tell their murderous excesses and barbaric. Neither
parody of court or therapy session, lets talk Massaker killers to open beyond the massacre, a reflection on the communal violence.




Interview

What are the personal motivations that led you to make this film?
Monika Borgmann: Violence is a phenomenon that fascinates me a long time, more exactly, what drives a man to become violent and commit certain crimes. I also believe that the issue of violence is a universal question. I mean, then it must be possible to search everywhere for answers to this question, despite the historical, cultural and political context in which it occurs. So when I had the idea of making a film about mob violence, the massacre of Sabra and Shatila has imposed itself as an obvious topic. The project idea dates back to 1996, but it was not until 1999 that I met the first person involved in the massacre. I spoke with her two hours, and this conversation was born the project.

Lokman Slim: I was in Beirut during the Israeli invasion of 1982 and the massacre. The house of my parents is about one kilometer from the camp. During the massacre, rumors ran that terrible things happened in the camps. People even came to take refuge in our garden. But nobody really knew what was happening. Everyone was still reeling from the assassination of Bashir Gemayel. And then the second day of the massacre, a section of the Lebanese Forces stormed home. My mother called someone from the Lebanese army, they came with tanks and protected the withdrawal of the militia out of our house and neighborhood. So I have very personal memories of the massacre. Two days later, I went there and I saw members of various medical organizations like the Red Cross, who buried the victims. The massacre of Sabra and Shatila has remained etched in my memory and has continued to raise many questions about the idea of responsibility and human nature.

Hermann Theissen: In 1995, Monika Borgmann and myself as a writer / director / editor respectively, have produced a documentary for the German Radio Deutschlandfunk, dedicated to the survivors of Sabra and Shatila. It was an important document because it commemorated the almost forgotten massacre. It analyzed the circumstances of the killings organized, we showed the responsibility of the international community and the Israeli army and, more importantly, it gave voice to the traumatized survivors. But despite all that, I felt something was missing. In the eyes of survivors, the killers were obviously stupid, the following years, I worked on the civil war in former Yugoslavia and I was facing the same issues there. I also took part in the debate over the books of Daniel Goldhagen (Hitler's Executioners : The average German and the Holocaust) and Christopher Browning (Ordinary Men: Reserve Battalion 101 the German police and the Final Solution in Poland). When Monika Borgmann told me in 2001 that it had found a killer involved in the massacre of Sabra and Shatila and she asked me to participate in the film she had performed on these killers, I have immediately Having a chance to find some answers to my questions.

Why did you decide to talk exclusively with the executioners?
M.: Listening to the survivors, we learn something about their essentially personal suffering, which is naturally very important and should not be evacuated. But we believe that there are at least two major reasons for talking to the executioners was essential ...

L. ... If we want to know more, for example, the contractors, the logistics managers, etc ..., we can not obtain such responses survivors. Only murderers can answer. In other words, if we want to reconstruct an event like this, we need also the words of the torturers. And if we are to understand the mechanism of individual and collective violence, we must also listen, know how they felt while they were committing these crimes ...

H. : There are many films about victims and survivors of the massacres. In general, when you watch, you identify the survivors and you are not forced to "understand" the killers. But as history has repeatedly shown, the brutality, is part of the range of human possibilities. I confront these people has therefore been difficult but useful, as it was difficult to find a good balance between the feelings of hatred they inspired me and an intellectual understanding of their actions. I think that such a confrontation will be equally painful and useful for the spectators and it will discuss these issues.

How have you found and how did you manage to convince them to talk? Mr.
: We have taken as a basic principle not to disclose their identity. But also point out that the six men who appear in the film are now living among us, within the Lebanese society and lead a normal life.

L. : We were asked the same question during a discussion Beirut, after the screening of Massaker, and I said this: "All the Lebanese who open their address books will find the phone numbers of several people who participated in the war." During this "civil" war, many massacres have been committed by all parties involved, not only by the Lebanese Forces: which means that everyone in Lebanon has neighbors who may have committed the same kind of crimes. The massacre of Sabra and Shatila in Lebanon remains a taboo. It will take a political change takes place in this country before they can learn more and that the Lebanese responsibility in this massacre to be recognized.

M.: Finding the executioners was something easier than we thought. Build with them a relationship of trust sufficient to enable us to turn was rather more difficult.

L. : It took us time to build a trusting relationship with these men. We were listening. We have never adopted the attitude of judges or accomplices. We just spent a lot of time listening to what they told us about their personal history during this war, their lives too. Thus was developed a relationship of trust. During this period, which lasted several months, we have relatively rarely mentioned or discussed at the Sabra and Shatila. It was just sure they were there that day. We were afraid of losing the spontaneity of the first interview. And so it is that time of the shooting that we asked them to talk in detail about their actions during the massacre.

Have you encountered problems during the preparation of the film?
M.: Yes. In late September 2001, we found five people who had actually participated in the massacre. For some reason that escapes us today, the Forces Security has been informed of their involvement in this project and have adopted all five.

L. : The five men were arrested, my apartment was searched and we have even the next day was "invited to a coffee" in an office of State Security or supposedly. We spent eight hours during which they questioned us. Subsequently, the five men were tried and convicted for lying about their involvement in the massacre.

M.: After their arrest, we had to start from scratch. It was November 2001. And this time, we have even more attention than before, so we did a sort of double life for several months.

Why men have decided to talk? M
.: We felt they needed to talk. And how they so quickly forgotten the presence of the camera surprised us. Ultimately, one could say that this shoot was for them a kind of therapy, even if we never tried to be their therapists. It was the first time they spoke in detail of the massacre, and this is probably the last - a reaction, after all, understandable.

L. : In 1991, an amnesty law was passed. So, nobody in the State does not wish to speak today about these events, or even that they evoked. And perhaps one reason that prompted our schedules witnesses to talk.


they Experiencing remorse over the atrocities they committed?
M.: They feel more pity for themselves than for their victims. None of them does the massacre in question or to request, if only indirectly, any forgiveness. This can be explained by the fact that they were acting in time of "civil war". They were both perpetrators and victims: each has lost a family member, friend or relative.

Do you think this amnesty law was a good thing for Lebanon?
H. All the massacres committed in Lebanon during the "civil war" are now taboo. That is what Hermann Lübbe named the "communicative silence" about the post-war Germany. But in Germany, we had the Nuremberg Trials and, in 1968, opened a debate on the issues of responsibility and guilt. In South Africa, the truth commissions have opened the road to reconciliation. In Lebanon, there is always a "communicative silence" and former "warlords" are still among the spheres of power and high society. So why the "street people", they show any remorse when their superiors are continuing their career with impunity? In addition, almost all institutions of this society were involved in "civil war" and killing: the rich families and their clans, the Communist Party as well as Christian churches and Muslim organizations, the Syrians, Israelis, Palestinians, etc. ... So far, none has shown any effort of self-criticism. So somehow, we could say: "Until now, civil war has not ceased."

L. This film is a protest against a culture of amnesia. Lebanon will not have the chance, every time a crime is committed, to see an international commission to look into. This film is, among other things, a call to the Lebanese so that they assume their present and future as well as their past so long violent.

Some executioners who decided to speak did they reverse?
M.: One of them changed his mind at the last minute. For weeks, the agreement was a fait accompli, but he did not attend the day of filming. In the film, one of the torturers was that some militiamen have refused to enter Sabra and Shatila by saying: "We can not commit such acts" and they came away without being punished.

L. : It was one of them. He had left his section and had returned home. A few hours later he came back up because he voluntarily was afraid of being excluded from his section or to appear to others as a coward. So he came back, shot a man in her bed and was again left home. But he had proven his section and he was a man and his "manhood" could be questionable. His story speaks volumes about the mechanical group, its structure and what is called collective violence.

How have you planned and organized the filming?
million. : We tried to be as unobtrusive as possible. We were a very small team. Nina Menkes was the director of photography, Hermann Theissen and the sound engineer and I Lokman interviewers. We do not interfere with each other. There was a deep understanding between us. We knew exactly what we wanted to achieve and how. Lokman was conducting the interview. What also helped us is that we are a man and a woman, a Lebanese and a stranger, a man speaking perfect Arabic, and a woman talking much worse. These differences have allowed us to ask our questions differently.

Why did you concentrate on body language of the executioners?
M.: This idea dates 1993. I conducted a lengthy interview with a former "sniper" of Lebanon. And during this conversation, how was moving the man sitting across from me seemed much more interesting than what he said. Or at least, more precisely, the two languages complement each other. Insofar as we knew from the outset that these murderers have neither faces nor names, their body language could be a bias of filming.

You made a number of formal narrative choices as the use of plans outlining the features of the massacre, photos, to the evocative power of words. Can you elaborate?
L. : Lors du tournage avec notre tout premier témoin, je lui ai demandé de dessiner un plan représentant la manière dont le massacre s’était déroulé. Et j’ai été surpris par la précision de sa mémoire. Cette idée permettait en outre de vérifier leurs informations. Si bien que nous avons décidé de leur demander, à tous, de dessiner de tels plans. Au stade du montage, nous n’avons pas cependant utilisé cet élément dans ce but précis. C’était simplement un élément visuel qui était, en tant que tel, très « beau » également. L’un d’eux a une fonction supplémentaire : je veux parler the circle at the beginning of the film. This plan is so minimalist that it gives the film an almost universal and allows visually evoke many other massacres like those of Poland, Rwanda or Cambodia.

M.: I would like to add something about the photographs. It was important for us to confront these killers to photos of their victims and see their reactions. We found on the Internet, or in easily accessible archives. As to the preparation, we discovered a lot about the personalities of our witnesses, and we then thought about how we would put in the presence of these photos. An example: we knew that one of them, in private, is a painter. Lokman has had the idea to place before it is rolled prints as a canvas. During assembly, we have nevertheless chosen to show the reactions of the most varied and strongest.

L. : We have edited the film so that the shock comes from the way that make the words in the mind of the beholder. This is not the visual content of the film itself nor the few archival photographs, also very blurry, which cause the horror but the floor.

Why did you use two different editors ?
M.: In Germany they first worked with the first editor, Bernd Euscher. But his conception of the film was totally different from ours. We suspected that this would be a difficult film to rise from the outset. Because the principle of the shooting was as follows: to be closer to the body of the executioners when they speak, which is not at all clear. He refused this approach and wanted to create a distance and protect themselves. Thus we interpret it, anyway. So, Lokman and I returned to Beirut and took over the editing process from scratch with Anne Mo. The agreement between three of us was perfect and the movie is proof.

Why have turned into places so anonymous? On what basis have you selected?
L. : We wanted decorations anonymous because they reinforce the universal significance of the film. Was therefore ruled out any plan of Beirut, Lebanon camps. Then most of the torturers have families and we could not film them at home. Therefore, we had to find other places where privacy of a particular film could also be preserved.

M.: Only one witness was filmed at home, simply because lives in a sort of "no man's land. This is the man to cats. The show was an absolutely conscious decision. That allowed him to become human. Of course these men are murderers and criminals, but it is primarily men. Film their body allowed us to highlight their "human side".

Have you been able to verify the veracity of the facts related by these six men?
L. : During the preparation of the film, one of the things we had to give priority, among others, was precisely to be certain they were well attended the massacre of Sabra and Shatila. This is the case: we can confirm that they have participated directly in an active way to these massacres. On the question of content and truth of their testimony, to judge you must keep in mind two things: First, they demonstrate twenty years after the fact, and finally, although their testimony is in our proved, the only way to know exactly what happened would have access to the archives of different countries and different organizations involved in this massacre: Israel, Lebanon, the USA, France, Great Britain, Italy, the PLO, the Lebanese Forces. We must also remember that the massacre took place after the withdrawal of UNIFIL in Lebanon, and once committed, no international commission has been formed to investigate. In addition, you should know that 60 hours filmed, there are only 100 minutes. Items not selected, "falls" also contain information on the massacre, even though they were not retained in the final cut, confirm what we heard there. Finally, last but not least, our initial goal was definitely not a documentary investigation the massacre of Sabra and Shatila.

How does your film have been received in Beirut as part of the event "Violence and memories of civil war" that you organized in September 2005?
M.: Okay. We are pleased that he has caused much discussion in the press after the screening. Lebanese censorship allowed us to project a time in this event but we hope that other screenings will take place one day. Our film answers, it seems, need a Lebanese civil society, even if it is a source of controversy. One of the most finest compliments we received was as follows: "Your film have been devoted to the massacre of Damour or another, it would not have been very different because you have shown is essential. While the political motivations change, what is said on violence remains the same. "It goes back to what said one of our six executioners:" Kill the first time is difficult, at least the second time, the third still less, and then it does not change anything. "

HISTORY OF LEBANON


The country derives its name from Mount Lebanon, the name "Lebanon" (also "Loubnan") comes from the Aramaic word Laban means "white" by reference to the snows of the Lebanese mountains.

Countries Middle East, Lebanon is bounded on the west by the Mediterranean Sea (225 km of coastline) and east by the Syro-African Depression. The country shares its borders with Syria about 375 kilometers north and east, with Israel on 79 km south.

The population of Lebanon is composed of various religious communities: Christians Catholic (Maronite), Muslim (Shiite and Sunni), Greek Orthodox, Greek Catholics Melkite, Armenian Catholic and Orthodox Israelis, Protestants, Copts, Druze and Alawite, Chaldeans, Syrian Catholics.

is estimated that the number of Palestinian refugees in Lebanon is between 160,000 (low estimate) and 225,000 (high estimate). In this country of 3 million and half inhabitants, an estimated more than 150,000 the number of Lebanese dead and 100 wounded 000 since 1975. Approximately 900 000 people, moreover, were displaced.


13 April 1975. Morning. Shooting one dead Inthe the inauguration of a church by Pierre Gemayel. In the afternoon, Machine Gun Falangists attacked a bus traveling in the same street, and massacred some of his Palestinian passengers. This is the beginning of the civil war.

1976
The Christian militias destroy Palestinian lescamps quarantine and Tell el Zaatar. Palestinian militias are killing people in the town of Damour. Maronite leaders calling for help and endorse the Syrian intervention. Syria sent 40,000 men to support them and fight the Palestinians. The Lebanese president and the head of the PLO convened in Riyadh. Saudi Arabia and Egypt are asking them to recognize the legitimacy of the presence of troops syriennesau Lebanon, and formalize the establishment of the Arab Deterrent Force (ADF).


15 March 1978. Israeli Likud leaders launch Operation Litani River and invaded southern Lebanon.
March 28. Israel withdrew its forces from the constraints of UN resolution 425 but multiplies armed incursions, causing an exodus of 200,000 Lebanese.
July. Deployment of United Nations Interim Force auLiban (UNIFIL). Israel withdrew from Lebanon but leaves the control of a "security belt" of ten kilometers deep in the "Army of Free Lebanon", an isolated fraction of the regular army, to prevent the advancement of Palestinian forces in the far south.
September. The Maronites rebelled openly against the presence of Syrian forces in Lebanon and the labor put Syria on the Lebanese state.

1982
June The forces of the PLO has never ceased to attack Israel with blows of light artillery or rockets, the Israeli army launched an offensive errestre, besieged West Beirut and faces the Syrian forces in the Bekaa.
August Elect Bashir Gemayel, considered by some as a supporter of Israel unacknowledged, as President of the Republic. A multinational force is deployed in Beirut to oversee the withdrawal of the PLO from Lebanon. September 14. Assassination of Bashir Gemayel, a member of the Syrian National Socialist Party.
16 and 17 September. Lebanese Forces militiamen into the camps of Sabra and Shatila virtually encircled by Israeli forces and engage in a bloodbath.
September 21. Election of Amin Gemayel, brother of Bashir Gemayel as president. The United States provides financial support for rebuilding the administration, infrastructure and army. An agreement was signed stipulating the end of the state of war and an Israeli withdrawal conditional simultaneous withdrawal of Syrian and Palestinian forces. Amin Gemayel dissolved command of the Arab Deterrent Force.


April 1983. An attack against the U.S. Embassy killed 63 people and left 100 injured.
August Shouf region is subject to conflitentre the Progressive Socialist Party (PSP) Druze and the Lebanese Forces. Walid Jumblatt wins Christians and forcing people to flee.
October 23. Suicide bombings are causing the death of 256 marines and 56 French soldiers. The attacks are claimed by a shadowy Shiite organization, the Islamic Jihad. Kidnappings of Westerners in Beirut multiply under the leadership of Hezbollah emerged in 1982 under the leadership of Khomeini Iran.

1987
June Prime Minister Rashid Karami, pro-Syria, was assassinated.


September 1988. The mandate of Amin Gemayelarrive futures and parliament fails to meet and elect a new president. Gemayel appointed his chief of staff, Michel Aoun, head of an interim military government. Aoun began a war against Syria. This establishes another government, which is more favorable, led by Selim Hoss.

1989
The joint efforts of deJordanie King Hussein, King Fahd of Saudi Arabia, and Algeria's President Chadli to lead to a cease-fire and a comprehensive parliamentary meeting aimed at "national reconciliation". The National Assembly met in Taif, Saudi Arabia and adopt constitutional amendments supporting Muslim communities. Rene Mouawad was elected president, but he was assassinated 17 days later. Parliament elects Elias Hrawi, a Maronite member close to Syria. Aoun opposes the agreement and attempts to extend its control to areas controlled by the Christian Lebanese Forces.

1990
Defeat General Aoun, the United States that endorsed the tutelage of Syria over Lebanon in exchange for his support for the Gulf War.

1992
Held the first parliamentary elections since 1972. Rafiq Hariri was appointed prime minister and trying to restore the balance disturbed by the boycott by Christians. Syria alliance with a disincentive to the Christian opposition.


2000 May 22 Israel withdrew completely from southern Lebanon sestroupes consistent with resolution 425 passed (in 1978) by the Security Council of the United Nations.

2004
Motion 1559 of the Security Council of the United Nations requires that "all foreign forces leave Lebanon" to allow the free tenued'élections. The same motion aussique demand an end to military activities of Hezbollah and calls milicechiite deployment of the Lebanese army across the border.


14 February 2005. The former prime minister Rafiq Hariri was killed in an attack. Syria is singled out.
February 28. 70 000 Lebanese, mostly Sunnis, Druze and Christians protesting against the Syrian presence.
March 8. The pro-Syrian parties are organizing an event-cons which brings between 500,000 and 800,000 people to denounce the attempted interference by Western powers in the Syrian-Lebanese affairs.
March 14. The Lebanese opposition to Syrian occupation and the pro-Syrian regime in place in Beirut gathers
800 000 to 1.2 million people on Martyrs' Square and demanded the truth about the assassination of Rafiq Hariri, the departure of Syrian presence and the head of government of Omar Karami.
April 26. The UN confirmed the complete withdrawal of Syrian military forces from Lebanon (without commenting on the withdrawal of the intelligence services).
July 19. Formation of the government of Fouad Siniora, a Sunni, a childhood friend and right arm of the late Rafiq Hariri. With the exception of the parliamentary bloc of General Michel Aoun, all political tendencies are represented, including for the first time Hezbollah.

WALTZ WITH BASHIR
Ari Folman

In "Waltz with Bashir," Ari Folman recalls trauma individually and collectively. His and his country. The choice, very inflated, film animation refers to a concern for exemplary story that everyone in Israel can be recognized through these drawn characters and ordinary, decidedly non-heroic. What is this past that does not pass? How memory has it arranged with disturbing memories? Why a quarter century after the fact, the film's main protagonist, Ari himself, then, is a victim of recurring nightmares?
Gradually, the identity puzzle fits together. At twenty Folman was a soldier in the IDF. In Lebanon, in 1982, he knew the horror of battle and the bloody madness at work. The highlight, if we dare say, the massacres of the Palestinian camps of Sabra and Shatila perpetrated by the Christian militias, following the assassination of Lebanese president Bashir Gemayel, under the eye (at best indifferent) of the Israeli army.
The film pushes the timeline. Mixes the present and snatches the 1982 events. Ari portrays his subjective inquiry. He goes to see his pals at the time. Traces with them a common youth. Warns them of his ambitious plan ("This film is a therapy"). The reminiscences are embodied on the screen. Depart for Lebanon.



Musings erotic ward scared. Immersed in the daily bombings and the Lebanese quagmire. Permissions intermittent. Accelerated Learning in adulthood. Political and military fuzzy ...
Facing the collective refusal to see themselves in the skin of the torturer
Why a memory so crumbly? What have we desired so as not to see? The great strength (aesthetic and political) "Waltz with Bashir" is in this double issue that arises Folman himself and puts his country. Sort of historical psychoanalysis, the film in barely half past one, holds up a mirror to Israel and disturbing to her children. And it dares to even say that only an Israeli can- national consciousness that bad against this highly troubled past may be explained by a collective refusal to see themselves in the skin of the torturer.
Audacity on the bottom and, of course, boldness of form. Even if one is more or less captivated by the animation style (not a firefighter) developed by Folman, even if we may regret a certain grandiosity (music ubiquitous, over-dramatizing effects), "Waltz with Bashir "remains an atypical and, most historically significant.



At the end of the film, the filmmaker gives up his process. Documentary images (Dead Palestinian despair in the camps, the survivors wandering haggard) follow those of animation. As if having revived the son of his own memory, it was now time for Ari Folman to show what was really happened and he should never forget.

Critique of Emmanuel Burdeau :
(Click on the documents)

Interview with Ari Folman

To go further:

File: Understanding Israel Film
(Click on photo)

3 Excerpts of Divine Intervention to Elia Suleiman:

Links:

French Jewish Union for Peace
http://www.ujfp.org/

Association Act of 1901, French Jewish Union for Peace (UJFP) since 1994 to advocate a just peace in the Middle East, and Jewish-Arab dialogue here in France. We conduct many educational activities, solidarity actions and dialogue initiatives, locally as the entire national territory.

Association France Palestine Solidarité
http://www.france-palestine.org/

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How To Stop A Tree From Growing Acorns

Between The Walls
Laurent Cantet





Meet Laurent Cantet, director of
"Entre les murs", Palma Gold
Festival de Cannes 2008.

last fortnight, the school is over. The gates are locked, the windows of the whitewashed houses with a sticky dust, the caretaker is on leave. In midsummer Parisian rotten difficult to guess that goes something exciting behind the doors of a college, the underground station Pyrenees. From the street, you can not see or hear anything. The modern, under the windows of a neighborhood, looks like a camp subtracted. The agitated students on the top floor, in an overheated room where they will spend most of their vacation. They are twenty-five retained all summer to participate in an intriguing film company, the "free" adaptation, by Laurent Cantet, the bestseller of Francis Bégaudeau,

Between the walls: the daily life of a French teacher in northern Paris. In the narrow class, Francis Bégaudeau plays himself. The college also being observed by three cameras that navigate between the rows to let nothing slip from their gestures, postures and distributed. The space is confined, the spotlight is burning, everything is negotiable, as in high school, to the brink of crisis. "The Class", we are here for good. Cantet bias that extends well Bégaudeau work: "Not a movie about the school, but a film in school. "

In introducing the note he handed to the producers, the director of Human Resources announces its intentions, while he puts his ambition:" If the school is a closed world, which we know little finally, the class is its black box ... "A shell to break, Drilling a mystery, a world to penetrate, to break down prejudices. His are those of a filmmaker, father of two, struggling to sort through the stories her return from school. "I've often felt out of step," he said. Torn between the desire to do battle with the authority and the feeling that it is not so simple. "

Pending funding his previous film, Heading South, Laurent Cantet had written the outline of a story revolving around a disciplinary council and of excluding a pupil Mali. Just a sketch. But reading the novel by François Bégaudeau in the fall of 2005, opened the doors of a class and reinforces their desire for a film school. He wants to reconnect with the vein of Human Resources, humanistic and realistic vision of the world of work: "Observe a microcosm becomes the sounding of the outside world, its political and social issues. When you talk about school, the discussion quickly becomes ideological, it looks just the reality of the work of children and teachers and the violence done to one or the other ... "

Bégaudeau and Cantet quickly agree on a device capable of "capturing the moments of truth in the classroom." After the fall of 2006, they began a long period of immersion in a college in the 20th arrondissement, go around the class looking for volunteers to select their own company. They meet up every Wednesday to students in a hall of the college desert to identify prominent personalities, potential actors, improvising scenes, inventing dialogue tracks ... From a storyline, in which youths will never know, the film is written and on the spot, in the exchange between the "teacher "Bégaudeau and class, which gradually takes shape in front of him. Inexperienced actor, writer boldly takes the role he gave himself in his novel, provocative, a bit sardonic, stirring dialogue, initiating the verbal jousting, playing smarter to push students into a corner. "Frankly, sir, you talk about evil! "Says a student one day last March, still in rehearsal.

thing led to another, it comes to vocabulary. We are looking for big words. D "illiteracy" to pathetic ideas fuse in perfect disorder. Bégaudeau stays the course and tempo, trying to orchestrate the replicas while letting them gush. His plan in mind, he 'situations that may arise scenes. It has the feeling of "going to fire." Teacher and actor, scout and observer, "bridgehead of the staging, it performs its tasks with a certain nature. "Bill ate a delicious burger," he wrote on the blackboard. Second, Esmeralda, sweat, hair pulled, reacts like clockwork: "Sir, why is not Bill and Rachel? The class is agitated: "Yes, Rachel, it makes me kiffer! "" Bill is not a name dog? . Not without defending his point of view, the pro fessor eventually acquiesce. Go to Ra chid! Esmeraldas adds: "Still, it costs you nothing to write, it looks like it kills you hand! It's not going to put you Sneeze. "A discreet camera records the exchange. Laurent Cantet observed in withdrawal, intervenes by Cimon to refocus energies, "Esmeralda, you have to be more serious than that. There, you do the show ... "Sparkling and theatrical, as sweet qu'écorchée lively little monster vitality of invention and difficult to master, Esmeralda embodies exactly what the filmmaker hopes for his film personalities who gradually assert themselves and stand out from the group, mark the life of a class which will hold the news. Budding actors who will capture the light in any spontaneous ity during filming.

Wednesday Workshops are a great asset. Please take the eye. A dual nature as an actor at all and flush all the time, in the most demonstrative passivi tee as in the euphoria of the speech and patter: "They are amazing," said Cantet, I am easily seduced, I am able to never bored by letting them improvise and execute at the end of an hour, we still drift on the same subject. "Several times requested for the adap tation of The Class, Bégaudeau Francis, who is also a film critic, has embarked with all hands in the draft Cantet, because he likes her look and approach, its "loyalty with reality." "When we started working," says the writer, I really thought the cinema Pialat, L'Enfance nue in particular. How the beginning of each scene rolls the dice again. The characters can react, they are not locked. At the time of capture, the accuracy of the scene is more important than continuity. "Wrought by the interest of truth, the writer and filmmaker has long sailed to view. They thought the book forget to rely on improvisation adolescents, but they were easily outflanked and struggled to breathe their share of drama. They finally resumed pressing the scenes of the novel to give material to embroider.

few weeks later, after a fight scene, Cantet told the class: "I have found softer than usual, maybe did you used to humor Francis ... " Sir, there is no humor! "Stung, they want to redo the scene:" We knew we had the right not to jump on the tables! They will re-do it. The filmmaker wants to preserve an element of surprise for the shooting. Prior to May, it stops the improvisations. "You might wear out and fall into the mechanisms. "The characters are distributed, the players on the way:" They are less naive they do not want to believe it, for the filmmaker follows. They quickly accepted the idea that they were not trying to recreate their lives, but to make a picture with me. In July, at the fateful hour of shooting, Cantet does not disappoint: teenagers are waiting for you and give what the filmmaker wanted them. The days are tense, Laurent Cantet and his assistants may have to shout louder than three teachers together, but the fabric is woven and the characters emerge. A timeline is installed in a room and the filmmaker has already done the sorting for not getting carried away by the flow of words. The day before, a scene around the word "Jew" and its definition has given birth to a long and lively discussion desultory. Bégaudeau is satisfied, sure we can hear what he suspects, that the supposed anti-Semitism of these adolescents is more of folklore de collégien, du fantasme antiriche, de la jalousie sociale. Cantet s'inquiète déjà de ce qu'il pourra en garder. Comment couper ? Quelles reparties montrer ?

Préserver le politiquement correct ou l'éviter ? Cet automne, le montage sera sans doute une épreuve difficile. Mais le cinéaste n'aura qu'une idée en tête, garder le cap qui était le sien quand il est entré dans une salle de classe : « Jouer le jeu de la confrontation, de la délibération, afin qu'une parole juste des élèves puisse surgir. C'est sans doute, face au fantasme actuel de la faillite scolaire, le seul moyen de leur rendre justice. ».
Laurent Rigoulet January 2007

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Teaching File
towards Teachers:

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Press Kit

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Cahiers du Cinema in September 2008 :

Francois, a French teacher in fourth grade, sitting at the counter of a Parisian bistro. He spends a few moments of respite in a pose motionless, tense and pensive, like a sprinter before departure. Suddenly he drains his coffee, as it swallows a breath of air before we know work hard long and dark around the beginning of the school year.

ago this begins the astonishing composition of spontaneity and control, proximity and restraint, of lyricism and coldness that characterizes the films of Laurent Cantet: a delicate balance, but controlled, between objective and subjective. The long lens on one side and the camera range of the other can interfere. The image shakes up the tolerable limits. What does the presence of this defect superfluous, except that the filmmaker would not allow any more ? The four sides of the frame shaking figure of our hero, excluding anything that is not his face. How to say, the rhetoric of a pure silent filmmaker, the film will not accept any intrusion, including ideological, the outside world. And at the same time, there can be no question of bringing to light anything of psychology professor. We observe it, that's all.

We took this initial image to enter the film. We could choose another. Any other. Between the walls is a great work Flattening between characters, situations, opinions. A fortiori between shots. We can perhaps say that a scene is more or less successful than another. It may, for example, take the sequence of the Disciplinary Board decides finally the expulsion of Souleymane and find that this is one of the strongest scenes that French cinema was invented to oppose to a young Black of white officials. Still

. From the perspective of the film - from Cantet if you prefer - no image has priority over another. All involved the same degree of reality. Movement the movie does indeed work only to show how much they look alike. We start by finding similarities between the inhabitants of the college Dolto. The look of a student is as imposing as that of a teacher. The happiness of a teacher, soon mother, is also a girl in her teenage embarrassment ill at ease. Even more amazing, you end up not seeing the difference between the college and its people. A door takes the color of a sweater, a painting is synonymous with the tones of a T-shirt, display case is filled with photos taken with a cell phone. Another proof of this amazing unit formal could be the difficulty of talking about cinema Cantet. Difficulty of placing critical in modulating the distance to the object, that is to say other than wholly within or wholly beside the pictures.

The neutrality of the staging was there from the Bloodthirsty. The flat, obvious in the struggle between generations, Human Resources, agreed to idleness postcapitalist of Time Out. The lightness ideological finally blossomed into the narrative of Vers south - in these pages, then Francis Bégaudeau recognized Cantet most politically astute filmmakers of "subtle" French (Brief No. 609) link. Between the walls re-enter all these elements into one project has been remarkably consistent. A few months away from the selection and consecration Cannes, vacation and a return projection room does not alter the impression created by the first vision (Brief No. 635) link. They reinforce it. The film charming and convincing. There is also the feeling of a project from hell, an unbeatable machine, a film lab to operate which the filmmaker had to don the towering spectacle of the scientist.
It took at least that for daring to bring the camera between the walls of the school (a school? College difficult? An institution in Zep's 20th district [1]? Nothing will). The school is the theme of themes. It is both the public place par excellence, the first we encounter in our lives. And when the pedagogy, sociology, political discourse make the most divisions. Often, filmmakers seek double the company, evidence of its failure or the dream of a alternative. The feeling is that in adapting the book Bégaudeau, Laurent Cantet has found the cure to the cumbersome and abstraction movies on education. Something that would come straight from sociology, but has been deployed here on the mode of a physical knowledge, a principle of indeterminacy: we can not know both a school and the school. When one digs, the debris falls on the other.
The Class performs a program known to be that of Francis Bégaudeau, as much as Laurent Cantet. Program guided by a phrase of Nietzsche " It is simply a prejudice to believe that moral truth is worth more than appearance. "Which is to say: why should it be fiction writer? An author, that is to say someone whose job would be in the picture, to identify and deconstruct the doxa. And thus represent, as Socrates in Plato's dialogues, the dialectic of operator sharing between truth and falsehood, the ferryman of the passage of a particular school at Universal School.

In his class, François Marin is a Socrates declined. "A guy who talks about everything," the words the pugnacious Sandra commenting Republic. He tries to apply the Socratic method with his students to analyze and reject the positions of his colleagues. Most often, his words are refuted. It is never to have another point of view to take the front. Rather to show some fatigue from the discussion, the difficulty for an officer to play the game with a circulation of power and the continuing risk that uses its principles, or simply his good will against him.

is precisely at times when the French teacher's strategy seems to emerge from its isolation element the most difficult of class, a misstep causes that right before the disciplinary board, and thereby to expulsion. Significantly, the first course of teacher work, as they say, the self-portrait. Students protested strongly, after all not without reason: we have nothing to say, our life is not worth it looks. The film, He sees an opportunity to slip through his own self-critical walls. Still the same function as earlier: the difficulty to draw a picture of the school on the one hand, the reality of a small class and its everyday other.

If the film manages to hold both ends, it is critical to student self-criticism of his hero Francis through the constant action of teachers, pupils and parents. That's why The Class could not do without the provision of secondary characters. Including students: Rachel Regular (Khumba), Esmeralda Ouertani (Sandra), Frank Keita (Souleymane), for which it is pointless to discuss who knows what miracle naturalist. These are real actors, including the actors Cantet: capable, provided that any experienced players, entering a role, to give their own cartoon character, before neutralizing it through a scene that puts the figure in a different light. Thanks to them the film wins in terms of modulation speed, speed, accents. The way they circulate in the narrative, with a record of disappearing and reappear later with a different minor characters certainly recalls other Cantet, particularly the prodigious CGT Human Resources.

But if it is indeed real people, not sure we can about real people. Instead, operators of an equation of forces set up to counterbalance the vitalism of Francis on his land: speech, discussion, argument. The Class Is exposure to pedagogy? The beginning of the film suggests. In a brief interview with the professor histoiregéo, Francois returns to sender any attempt on the other, at the beginning rather willing, to build bridges between subjects. And without further explanation than generic "one oar," "it's complicated." Francis has his way. In the following scenes, the film proposes, absence of a demonstration test. He starts with what exists, what interests or is deemed to be interested in, students. And from there seeks to return to his French-language program. It is far from being a success. Especially in terms of discipline, the film continues to lay the blame on the optimism of the teacher, and in parallel to confirm the history and geography in his dark sense.

He is not sure that exposure is a teaching center of the film by Laurent Cantet, as it was, however, certainly at the heart of the book Bégaudeau. The film benefits disputes an entirely different way. It records the birth of an open space by the dialectical opposition between teachers and students, between teachers and more marginally, and decorated by the presence of tangible objects sometimes - book binding, bells, glass, and balloons in the playground - sometimes abstract - the rules, habits, devices.

Appearances, appearances. These human elements, tangible and intangible facing the teacher's daily, putting pressure on him, oppose him, almost physically, like a picture, the cliché positive and negative objects to photograph, at the same time, is identical. Amidst this constant dialectic, sometimes joyful, sometimes tragic, Cantet portrays is crossed by a teacher at her school, from school by a teacher: the outline of a specific school world ranging from economy the coffee machine to the issue of strategies to be implemented to counter underachievement.

At the end of the year, the school Cantet appears mainly as a political place. A large maze which is exercised under the most diverse forms power : The vote, the assembly committee. It is less a truth known to the institution which the reverse directed to the public. This is perhaps the reason for the success of the film: the desire of viewers to participate in the power games that scroll across the screen, the ephemeral utopias who gush.

In his book, Francis told the story of Bégaudeau Francis throughout the school year as a diary recording the fatigue, the daily struggle, the tips more or less adroit employed the purpose of learning about something to his students. Or just get to the end of the course. Cantet's film keeps the book that the act of repetition of the consciousness of the author. The long-established workshop for one year with the students-actors was the place where the act took place again. The record shows, however, a difference with the written page. Or both. First, Francis is no longer alone with his other Francis. It is surrounded by other students and professors, just like him, have experienced already become what they were: students, teachers, headmaster. That is to say to do their own being, a fictional character. Second - most importantly - the camera Cantet is a really different position, really neutral. The middle class. Far from a field-field cons between the author of the book and its double. As far a field cons-field between it and the students. A third axis that puts everyone at the same distance.

Interview with Francois Bégaudeau for the release of "The Class" adaptation of his book of the same title .

"I made a movie, not a documentary"
Laurent Cantet and two French teachers share their experiences and their vision school.
Debate chaired by Gérard Lefort AND VERONICA SOULÉ Transcript by Corinne and Christine Cantin Rouxel Monday, September 22, 2008

Do you think a good teacher is a good actor?

Valerie Sultan, Professor of French College Rosa Parks in Gentilly (Val-de-Marne) : Probably there one part where they play a role. At the same time, it is a job which includes all sorts of tricks. There is a structured course, with a concept to transmit specific activities. But in this movie, I did not really feel to see a teacher doing a lesson. The transmission of knowledge, and all the problems associated with it - yet the great business school - are completely evacuated. That's what bothers me, because I'm fighting to show that what is at the heart of the school, they are learning.

Nicolas Morvan, French teacher at Collège Jean-Lurçat Ris-Orange (Essonne) : Prof. actor, yes, of course. Nevertheless, one can not ignore what we are, what we love, this what we believe. Laurent Cantet has, I believe, no attempt to show an exemplary teacher. It is very important. In the film, we see also that teachers have different teaching practices. A student in college, will
thirty teachers. It seems important to me that one day, something resonates in front of him. Perhaps, for this student, Prof. Francis will like Marino in the film and, for another, one who resembles a professor of history and geography.

How do you deal with the eyes of students?

N. Morvan : I am first very careful how I am dressed. After a moment, things are much simpler. And we forget that we are watched by twenty-five or thirty students.

V. Sultan: I try to function as a model. The teacher of the film is also struggling with that. That's where I am embarrassed. Here we have a very ambiguous status of reality and fiction. You never know if it is in one or the other. Yet there are elements that the director may implement to show that it is in fiction, music for example. Many teachers will watch this movie and come out pretty uncomfortable.

Laurent Cantet, director : I understand that the film gives an impression of reality. This is what we sought. However, I never could imagine that a viewer might think that such a density of events coming in five minutes that takes a sequence. For me, there was necessarily a response writer. This confusion was quite surprised. About the function of schools to transmit knowledge, as a director, this is not what interested me. We shot a scene of dictation, and then we watched the rushes.
We felt that we did not tell much. Above all, we broke the rhythm of the film, based on these comparisons, those moments where words escape, where, in one fell swoop, we will not learn anything, but question the fact to learn that thing. It is these moments that interested me, times when the class is transformed into a school of democracy, and sometimes in school school. What do you do there? Why are we here? I feel that if we do not have to share this with students, we have very little chance to teach them something, if not a theorem or a combination they will quickly forget.

N. Morvan At the same time, we see the students work, typing on the computer texts they produced, we see them write ... The exercise of the combination does not like that at random in the course . We much doubt that there was something done before. And when at the end of the film, the teacher asked everyone what he can retain his year, one of them explains plate tectonics, the other the theorem of Pythagoras. We can not say that the film sums up the school into a comprehensive forum where the key is to talk.

V. Sultan: In the press kit, Laurent Cantet, you say that you have language issues as central. I doubt it. You say you enjoyed filming the verbal jousting between students and their teacher . The problem is that at the end of the film one has the uneasy feeling of not having seen much more than a tennis match that does not really lead educationally. This issue is however a wealth
educationally. But the answers the teacher to student questions are distressing, even destitute.

L. Cantet : In the moments we watch, the teacher does not respond to questions he raises. He pushes students to go further in their thinking, to help them move forward, or make them aware that this reasoning is archaic, invalid.

N. Morvan : The film, which is involved in a political context rather special about the school, shows the intelligence of students. They are able to speak a controlled manner - on the poster for the film, they raise their hand before speaking - and share arguments, valid or not. The teacher tries to pinpoint malfunctions. Do not forget that a minister (Jean-Pierre Chevenement, then the Interior, 1998) spoke of "savages."
V. Sultan: Instead of starting with what students say, the teacher could reflect on the mechanisms of language, the difference between language spoken and written language, the plurality of language use.

L. Cantet : That's what he does.

V. Sultan : No. The standard language is she? Who fixes it: dictionaries, grammarians, the street, the academicians? What is the standard? Language issues are central to a power struggle. But which one? Why the teacher did not he put these issues on the table? Because when we do, by showing that the balance of power can be social, cultural, after all this is appeased by students, learning the simple past becomes much easier. But the teacher does not open the black box and
a number of academic knowledge that could translate to these students, he keeps to himself. And French remains the classroom door.

Have you experienced scenes like in the movie in your classes?

N. Morvan : I hear the question of students when the teacher tries to learn the imperfect subjunctive: "What's the point?" He answers elsewhere, speaking of language levels, contexts in which we can use them, read them.

L. Cantet He says - this is the excerpt from the trailer: "It is still strange that whenever we want to teach you something, you put first questioned the need to learn . Learn it, and after we discuss it. "This is a summary of everything the film says.

V. Sultan : "Learn it, and after we discuss it, just that is being discussed. The fact that knowledge is put in doubt when it is presented by the teacher is a healthy sign of the school, which should highlight the major debates, including historical.

L. Cantet : We agree. In fact, I did not want to portray a difficult class, but the portrait of students and a teacher who, during certain times of the year, come to discuss in almost equal.

N. Morvan : At the same time, the film shows that equality in schools is a fiction. The school is not the place of democracy works. Moreover, to be believed, the student who goes to the Disciplinary Board is somehow like the victim.

Some criticize the fact that Teacher starts at the student level. What do you think?

N. Morvan : Students know that one is never at the same level, there is the teacher and students there. In a school year, there are moments of pure transmission, and others where the level of language you can use with them is not necessarily that of a grammar lesson or explanation of text.

V. Sultan : This contract is completely egalitarian demagogy. I am responsible for their safety, I put notes, I organize teaching, I corrected copies. I am not equal with my students.

L. Cantet François Marin is also not equal and he knows it! He tries to spare the beaches where dialogue can take place. And he accepts a level of language that will allow it.

V. Sultan: I was also shocked that the confusion between public and private spheres. I quote the professor: "I want to fuck you peace." This is not because it's not just you who do stupid things that I should not punish you. " Moreover, it leaves them in class and went alone to the headmaster. Malpractice huge! I did not at any time recognized in this teacher. And the ambiguous status between fiction and reality that some will think that the school is all about.

L. Cantet : This is a training problem of the viewer. Maybe you have not seen the film as I hope, be seen, and as many see it. As a film, not a documentary.

Do you fear a recovery ideological?

N. Morvan : The concern is real. We know well as the reaction of one of your colleagues who officiates on France Culture, will be questioning the college unique.

Finkielkraut Thinking?

N. Morvan : Yes, but not exclusively. Yet these students will have their place: they question the relevance of certain knowledge, they are smart, think fast, often well.

L. Cantet : The diversity of profiles in the class so rich. I spent my school in a small provincial town. We were among "poor whites" of the middle class, because the college one did not exist. Already some were being sent to transition classes. I did not feel "good"
students today suffer from this multiplicity. Instead, my children seem much more open to the world having gone to college in Bagnolet, a class that resembles the one I describe, me in age.

N. Morvan : There are about twenty years, these students were in class professional level. This film shows a school's success which they live. And I am proud that Valerie and me other teachers manage to take them forward.

L. Cantet : We felt that the risk of recovery just after Cannes. But these people began to see the movie, and they do not know what to say, because it describes the complexity of a system without judging. So we do not know where to take it to retrieve it. We can say that this class gives a demeaning portrait of the school, but we can also say that these kids are really smart. We can say it is a great place because we exchange
enormously. And we can also say: "Look, school is a place of exclusion."

V. Sultan : The film and book, called The Class. This gives an unpleasant feeling of enclosure, of confinement.

L. Cantet : There is a sense that school is a black box to anyone who has nothing to do there.

Why did you choose to stay in isolation?

L. Cantet : First, because I think the school is permeable to what is happening around. We feel how each student arrives with his problems. Then, because I felt that this class becomes a kind of cash
resonance, which is struggling to broader issues that seem to say that the dialogues. Finally, because I always feel that when one wants to talk about something, you had better define his look. For it is in the details that things appear.

N. Morvan : At the same time, the exterior keeps disappearing into the classroom. Students tell us about their origins through the football games. Others question the professor about his sexuality. There is also the mother of
student said: "I want my student to another college, because this one has a bad reputation. "We see the concerns of parents about the school, which is the problem of school mapping, which the Minister would be no more debate!

V. Sultan : Whether one defines a subject does not bother me, but how to shoot in camera perspective cup. Bodies are glued to each other. The playground is filmed underwater, there is no horizon line.

L. Cantet : This is not me who built the set!

V. Sultan : You can also shoot out establishment, the door in front, lots of things!
We also feel that there is, on one hand, people who lectures and, on the other, those who are in dialogue. It is a vision of the school completely binary.

N. Morvan : I can not find. We see that there is a transmission of knowledge, and students who are trying to build dialogue with the teacher, and that vis-à-vis themselves.

L. Cantet : The film also gives the picture of how 90% of students live in school. At fifteen it was the hormones bubbling and spend six or seven hours a day sitting listening to a teacher. The kids live it as a lockdown!

V. Sultan : One thing that you have shown. The film by Alain Resnais, My American Uncle, transposes research biologist Henri Laborit. If you put mice in a cage and you swing them electric shocks, they will end up throwing one over the other to devour. However, in our difficult schools, the same thing. The relationship between the teachers tend. What are the CPE, the head teacher, the nurse ? But today, the government reduces the size of the cage, the mice increases and multiplies the landfills.
L. Cantet : I can not see my characters as mice!

V. Sultan : But I regret that there is not much talk about those who swing landfills.

N. Morvan : The loneliness of the teacher is very well filmed. In an interview with two students, it requires an apology, they made him to finally tell him that we do not think so. The door closes. After he finds himself alone. I have often been moved. Many find
the end of the film is pessimistic, with the little girl who eventually confides that she has learned nothing ...

V. Sultan : I share the concern of many of my colleagues over this film. I'm afraid that some people take for granted what might be the reality of the school and use it ...

L. Cantet : Obviously, this did not imply any generality, but from the reactions I had in the rooms, the parents are much more shocked by the film professors. Their chart is obviously easier to establish, because they are less in this kind of mirror that seems to lend you the movie.

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Daniel Pennac: "Violence to learn"

About Interview by Eric Libio (L'Express)

former teacher, author of Sorrow School saw the film by Laurent Cantet. He loved. And say why.

"Great, this movie! First game by students and teachers (Ah, Souleymane Ah, Esmeralda Ah, Khumba Ah, Mr. Marino - Francis Bégaudeau - what actors! And the mother of Souleymane, then!). Then by the incredible intensity of the narrative. And finally, because all reached this rendering of true fiction that should seek Laurent Cantet. The viewer is plunged alive in this class where everything is made to the nearest.

Bursts intelligence
But the flip side of this evocative strength is that it might suggest Entre les murs reflects the situation of the 12 million students who populate the school today. This is obviously not the case. We are in a particular class, with problems of her own, and visited number of establishments whose social composition was the same but the behavior of students who are very different, because the teaching team did it with them otherwise.
A fourth class, therefore, a college of the twentieth arrondissement in Paris. 14 years of age the hardest, the explosion of biological, expressed here by the explosion itself.
However, within this tumultuous mess, piercing shards of intelligence. Esmeralda, for example, one of the "characters" key, displays a Shakespearean cunning: it is Iago who manipulates, testing the limits of each other and accumulate know-how which we feel that it will use adult.

Exploring the limits of Professor
But the most striking is the general loneliness. A professor crackles in the staff room, and what silence among his colleagues! A class council is held and no one takes account of two students heckling delegates, and any gap between these adults and those elusive teens! The kids, moreover, are not more supportive than larger ones. Each picnic his personal crisis at the option of changing circumstances. "It's his life, Khumba, me I do not care for his life!" Esmeralda loose.
Yet, despite this awful cacophony The film reveals the invariants of the teacher-student confrontation, regardless of the time, regardless of the social environment: Find the limits of the professor, in recognition of his contradictions, ask him to justify the usefulness of knowledge, permanently mark the gap between what is taught and what the student claims to be the real. Without doubt, the Lycée Henri-IV, Paris [one of the best in France], manners are they different, but remain invariant: Students are also seeking the limits of the professor, in a more subtle that is all, but it seeks.
These invariants also affect teachers, particularly when they pose the eternal question: "This class is it worthy to receive what I have to teach him?" What student has not heard from a teacher: "You are the worst fourth, third, first or end of my career!''Said
All this violence is intrinsic to the need to learn and to duty to investigate. The difficulty of the teacher's job is to constantly clash between ignorance and knowledge will ignore always perceived as coming from elsewhere. Very violent, here, the clash between these walls, very!
The art of teaching is likely to convert that desire into violence. "

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BLACKBOARD
The defeat of the School
Iannis Roder



Young Professor of History and Geography catapulted from his first school year in college "suburban" Iannis Roder runs very quickly to a tragicomic reality, contrary to his ideals and the official discourse of the institution. What can be taught to children who have five hundred words to communicate, some of whom can barely read? Children's vision simplified or simplistic world. Who can not lie somewhere between their neighborhood and foil their country of origin they are not. Children released by the system and deceived, lulled by the imaginary golden television, only dreaming of fame and money. In its establishment as in many others, everyday violence, almost commonplace, carries its share of sexism, homophobia, racism, antisemitism ...
Faced with the daily experiences of many teachers, Iannis Roder delivers a lucid testimony, against the current of unspoken and patronizing speech. Restoring of shocking dialogue with students, he invites us to roll up our sleeves, change the world, the school and provide opportunities for citizen children.

Preview: http://www.denoel.fr/Denoel/extraits

Barometer annual report to school
of children neighborhoods:

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Law College
Mariana Otero



"School Law", conducted fifteen years earlier, gives a unique perspective on the permanence of the questions which have discouraged more than one. So when the director decided in 1994 to make a film based on the general theme of the law, its operation, its methods and its problems within a human group flagship, the school, specifically the College PTA Garcia Lorca in a Paris suburb (Saint-Denis), has established itself as the place to argue with this review. Welcoming teenagers from different social and family difficulties, the four walls of what was to become a mini-observation laboratory, answered more than another very successful for this necessary reflection of reality. The college offered a range of stories including without detours, all bearing signs of a school in which everyone could be projected by levying in parallel causes of discomfort as deep as recurring. Mariana Otero tells more, how his meeting with the principal of the college Garcia Lorca was decisive at a time when in 1994, most institutions usually refuse to open their doors to cameras: the valiant Mr. Duattis is the hero this exciting series, supervising students and teachers, supervisors and a guidance counselor which without exception have agreed to be filmed. Sentry at the crossroads of a jungle it is as ordinary extraordinary, the main bearer of moral law and saw the making of this film as an aide memoire that was lacking as he faced throughout the year, events also qu'inénarrables incalculable. Despite the qualities of the film by Laurent Cantet, "The Class," "The Law College, its duration (the series is segmented into six episodes of 26 minutes), suggests greater spirit of everyday life and that recurrences are school Building on an authenticity that does not, contrary to the Palme representation. More importantly, the series off the individual from the group to better approach them and talk sometimes causes problems, whether the boy who lies about the death of his grandmother to escape the course until top of the class seeking by every means to flee the 4th Techno in order to reach a section called "normal". Faced with these professors, confused or exhausted, wavering between pickets or disciplinary boards, try to avoid spit, insults and kicks, fighting every day to teach the mind without ever losing it. In fact it appears from "The Law of college" a sense of uncontrollable chaos, immutable and fifteen later, terribly relevant.

Olivier Bombarda

Warning schoolchildren and students
Raoul Vaneigem



School is indicative of the dominance of a conception of society destructive for human relations, research deadly profitability at the expense of development through creation. Such is the thesis the author, and his demonstration combines the art forms that score quality of brevity.
is stimulating reading, which has lost none of its relevance ten years after its release.

EXCERPT: http://sami.is.free.fr/Oeuvres/vaneigem_ecoliers.html

Zero for Conduct of Jean Vigo

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