Calais comme lieu d’entre-mémoire.
Opérativité du cinéma documentaire dans les films de Marc Isaacs et de Henri-François Imbert.
Sébastien Fevry | 08.12.2015This paper examines how documentary cinema portrays the situation of refugees who are stranded in Calais. More precisely, its purpose is to show that one of the creative possibilities of documentary film consists in transforming a “non-lieu” such as the Sangatte camp into a “lieu d’entre-mémoire” that interconnects recollections and testimonies that belong to different temporal strata. To go further, this article develops a compared analysis between Marc Isaacs’ documentary Calais: The Last Border (2003) and Henri-François Imbert’s film [...]