{"id":{"repo_id":"liege","oai_identifier":"oai:orbi.ulg.ac.be:2268/221589"},"canonical_url":"https://search.dev.ndltd.org/etd/liege/oai:orbi.ulg.ac.be:2268/221589","repository":{"repo_id":"liege","name":"Université de Liège","base_url":"https://orbi.uliege.be/oai/request"},"display":{"title":"Se lier, se délier : deux films documentaires face au pardon","abstract":"Cette étude s’applique à démontrer comment la relation documentaire peut être mise à l’épreuve du pardon dans deux films mettant en scène des bourreaux. Comment est-il possible de concevoir un dispositif cinématographique éthique avec la participation d’anciens criminels ? C’est la question que se sont posée les cinéastes Avi Mograbi et Rithy Panh. L’objectif de cette recherche sera de relever comment le pardon intervient explicitement, mais aussi implicitement, dans la forme documentaire. Il s’agira de comprendre comment ces films, Z32 et S21 la machine de mort khmère rouge, s’élaborent socialement, politiquement et esthétiquement du tournage à la réception, afin de cerner le potentiel symbolique et performatif du pardon dans la reconstruction du lien avec autrui.","abstract_html":"Cette étude s’applique à démontrer comment la relation documentaire peut être mise à l’épreuve du pardon dans deux films mettant en scène des bourreaux. Comment est-il possible de concevoir un dispositif cinématographique éthique avec la participation d’anciens criminels ? C’est la question que se sont posée les cinéastes Avi Mograbi et Rithy Panh. L’objectif de cette recherche sera de relever comment le pardon intervient explicitement, mais aussi implicitement, dans la forme documentaire. Il s’agira de comprendre comment ces films, Z32 et S21 la machine de mort khmère rouge, s’élaborent socialement, politiquement et esthétiquement du tournage à la réception, afin de cerner le potentiel symbolique et performatif du pardon dans la reconstruction du lien avec autrui.","abstract_has_math":false,"creators":["Szechter, Lucie"],"institution":"UdeM - Université de Montréal","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":["Froger, Marion"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2011,"date_issued":"2011-05","date_published":"2011-05","updated_at":"2026-07-24T02:49:37Z","subjects":["Cinéma documentaire","Pardon","Victime","Bourreau","Imputabilité","Résistance","Vivre ensemble","Rithy Panh","Mograbi","Documentary film","Forgiveness","Executioner","Responsibility","Resistance","Modus vivendi","Arts & humanities","Performing arts","Arts & sciences humaines","Arts du spectacle"],"languages":["fr"],"rights":["open access","info:eu-repo/semantics/openAccess"],"rights_urls":["http://purl.org/coar/access_right/c_abf2"],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["info:hdl:2268/221589"],"render_values":[{"text":"info:hdl:2268/221589","href":null,"code":true}]}]},"links":{"outbound_url":"https://orbi.uliege.be/handle/2268/221589","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Froger, Marion"]},{"key":"dc:creator","label":"Author","values":["Szechter, Lucie"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2011-05"]},{"key":"dc:publisher","label":"Institution","values":["UdeM - Université de Montréal"]},{"key":"dc:relation","label":"Dc Relation","values":["https://papyrus.bib.umontreal.ca/xmlui/bitstream/handle/1866/5515/Szechter_Lucie_2011_memoire.pdf?sequence=4"]},{"key":"dc:type","label":"Dc Type","values":["master thesis","http://purl.org/coar/resource_type/c_bdcc","info:eu-repo/semantics/masterThesis"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Cinéma documentaire","Pardon","Victime","Bourreau","Imputabilité","Résistance","Vivre ensemble","Rithy Panh","Mograbi","Documentary film","Forgiveness","Executioner","Responsibility","Resistance","Modus vivendi","Arts & humanities","Performing arts","Arts & sciences humaines","Arts du spectacle"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["fr"]},{"key":"dc:rights","label":"Dc Rights","values":["open access","http://purl.org/coar/access_right/c_abf2","info:eu-repo/semantics/openAccess"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://orbi.uliege.be/handle/2268/221589","info:hdl:2268/221589","https://orbi.uliege.be/bitstream/2268/221589/1/Szechter_Lucie_2011_memoire.pdf"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Cette étude s’applique à démontrer comment la relation documentaire peut être mise à l’épreuve du pardon dans deux films mettant en scène des bourreaux. Comment est-il possible de concevoir un dispositif cinématographique éthique avec la participation d’anciens criminels ? C’est la question que se sont posée les cinéastes Avi Mograbi et Rithy Panh. L’objectif de cette recherche sera de relever comment le pardon intervient explicitement, mais aussi implicitement, dans la forme documentaire. Il s’agira de comprendre comment ces films, Z32 et S21 la machine de mort khmère rouge, s’élaborent socialement, politiquement et esthétiquement du tournage à la réception, afin de cerner le potentiel symbolique et performatif du pardon dans la reconstruction du lien avec autrui.","In this study we strive to show how the notion of relationship, conjured up by the documentary, is challenged by the act of forgiving in two films depicting executioners. Is it possible to conceive of a filmic project that would be at the same time ethical and include the participation of former criminals? Such is the question raised by the filmmakers Avi Mograbi and Rithy Panh. The purpose of our research will be to highlight instances where forgiveness unfolds, both explicitly and implicitly, in the documentary form. We will thus try to understand how the films Z32 and S21 la machine de mort khmère rouge find a social, political and aesthetic existence, from shooting to reception. In this way the symbolic and performative potential of the act of forgiving will be revealed in its relation to the reconstruction of the bond with the other."]},{"key":"dc:format","label":"Dc Format","values":["150"]},{"key":"dc:title","label":"Title","values":["Se lier, se délier : deux films documentaires face au pardon"]}]}],"canonical_facts":{"dc:contributor":["Froger, Marion"],"dc:creator":["Szechter, Lucie"],"dc:date":["2011-05"],"dc:description":["Cette étude s’applique à démontrer comment la relation documentaire peut être mise à l’épreuve du pardon dans deux films mettant en scène des bourreaux. Comment est-il possible de concevoir un dispositif cinématographique éthique avec la participation d’anciens criminels ? C’est la question que se sont posée les cinéastes Avi Mograbi et Rithy Panh. L’objectif de cette recherche sera de relever comment le pardon intervient explicitement, mais aussi implicitement, dans la forme documentaire. Il s’agira de comprendre comment ces films, Z32 et S21 la machine de mort khmère rouge, s’élaborent socialement, politiquement et esthétiquement du tournage à la réception, afin de cerner le potentiel symbolique et performatif du pardon dans la reconstruction du lien avec autrui.","In this study we strive to show how the notion of relationship, conjured up by the documentary, is challenged by the act of forgiving in two films depicting executioners. Is it possible to conceive of a filmic project that would be at the same time ethical and include the participation of former criminals? Such is the question raised by the filmmakers Avi Mograbi and Rithy Panh. The purpose of our research will be to highlight instances where forgiveness unfolds, both explicitly and implicitly, in the documentary form. We will thus try to understand how the films Z32 and S21 la machine de mort khmère rouge find a social, political and aesthetic existence, from shooting to reception. In this way the symbolic and performative potential of the act of forgiving will be revealed in its relation to the reconstruction of the bond with the other."],"dc:format":["150"],"dc:identifier":["https://orbi.uliege.be/handle/2268/221589","info:hdl:2268/221589","https://orbi.uliege.be/bitstream/2268/221589/1/Szechter_Lucie_2011_memoire.pdf"],"dc:language":["fr"],"dc:publisher":["UdeM - Université de Montréal"],"dc:relation":["https://papyrus.bib.umontreal.ca/xmlui/bitstream/handle/1866/5515/Szechter_Lucie_2011_memoire.pdf?sequence=4"],"dc:rights":["open access","http://purl.org/coar/access_right/c_abf2","info:eu-repo/semantics/openAccess"],"dc:subject":["Cinéma documentaire","Pardon","Victime","Bourreau","Imputabilité","Résistance","Vivre ensemble","Rithy Panh","Mograbi","Documentary film","Forgiveness","Executioner","Responsibility","Resistance","Modus vivendi","Arts & humanities","Performing arts","Arts & sciences humaines","Arts du spectacle"],"dc:title":["Se lier, se délier : deux films documentaires face au pardon"],"dc:type":["master thesis","http://purl.org/coar/resource_type/c_bdcc","info:eu-repo/semantics/masterThesis"]},"updated_at":"2026-07-24T02:49:37Z"}