The chapter studies both the genesis, screening and further fate of the film presented by the Soviet accusation at the IMT in February 1946 and the film produced by the Central Documentary studio about the trial of the main leaders of the Third Reich held in Nuremberg in 1945-1946. It explains the differences between Soviet and American-British ways of certifying the authenticity of visual evidence. It evokes the public trials held in parallel in several important Soviet cities, some of which were filmed as well. Finally, it concludes with an epilogue about the resuming of public trials of perpetrators in the 1960s Soviet Union and the shift in film patterns during these years
Il capitolo studia sia la genesi, la proiezione e l'ulteriore destino del film presentato dall'accusa sovietica all'IMT nel febbraio 1946 sia il film prodotto dallo studio Central Documentary sul processo ai principali leader del Terzo Reich tenutosi a Norimberga nel 1945-1946. Spiega le differenze tra il modo sovietico e quello americano-britannico di certificare l'autenticità delle prove visive. Evoca i processi pubblici tenuti in parallelo in diverse importanti città sovietiche, alcuni dei quali furono anche filmati. Infine, si conclude con un epilogo sulla ripresa dei processi pubblici dei colpevoli nell'Unione Sovietica degli anni '60 e sul cambiamento dei modelli cinematografici durante questi anni
Nuremberg, et après?
Vanessa Voisin
Co-primo
2015
Abstract
The chapter studies both the genesis, screening and further fate of the film presented by the Soviet accusation at the IMT in February 1946 and the film produced by the Central Documentary studio about the trial of the main leaders of the Third Reich held in Nuremberg in 1945-1946. It explains the differences between Soviet and American-British ways of certifying the authenticity of visual evidence. It evokes the public trials held in parallel in several important Soviet cities, some of which were filmed as well. Finally, it concludes with an epilogue about the resuming of public trials of perpetrators in the 1960s Soviet Union and the shift in film patterns during these yearsI documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.