Nurturing Long-Term Lead Relationships
Posted: Mon Jan 27, 2025 8:39 am
It was fascinating. At the end of his personal investigation, the citizen spectator arbitrated and appreciated the judgment of justice.
Moreover, this production of truth that punishes or absolves will constitute the driving force of another series that has remained in the memories. "Gentlemen the Juries" staged fictitious trials for more than 10 years on the second channel this time. Viewers played the role of jurors in this reconstructed assize court. We watched their deliberation, then came the time to vote. This time, the dramaturgy included the process of deciding on the sentence to be imposed. The investigation of the average person was now part of the televised judicial truth, and it mattered little that the latter was pure fiction. The truth-establishing system specific to justice worked, that was the main thing.
Robert Hossein did the same in the service of a gambling data polandpopular theatre tasked with revisiting the major issues in French history, from Marie-Antoinette to the Seznec affair, including that of the Courrier de Lyon. At the risk of seeing the judicial crucible produce a purely formal spectacle.
This was the case of "Stars à la barre" where personalities, helped by lawyers, confronted each other on the themes of the day. A verdict was rendered by a jury present on the set. At the end of the 80s, the show was short-lived. The image of justice was beginning to fade. The exact opposite of the American trajectory.
The image of justice, a powerful constant in American culture
There, the legal narrative flourished. The story is well-known. In 1959, television filmed its first trial . 40 years earlier, the cinema, although silent at the time, had told the story of a man wrongly accused of murder. DW Griffith made this film called "The Mother and the Law". It was a fictional film. The visual account of a real trial was made, still in cinema, in 1935 with the judgment of Bruno Hauptman accused of having kidnapped and killed the child of the Lindberg couple.
Since then, in the theatre, on the big screen as well as on the small screen, the legal drama is omnipresent . TV channels are dedicated to it, such as the famous Court TV which appeared in 1991.
In her well-documented article (in the Revue française d'études américaine 1998) on "spectacle justice in the United States" Régine Hollander describes the close relationship between images and American justice . Fiction and non-fiction films are used in universities to train for the legal profession. The image plays a full educational role across the Atlantic, even if the courtroom remains almost the only place highlighted by filmmakers or producers of shows. Unlike our inquisitorial system, there, the accusatory principle and the confrontation that accompanies it organize the exercise of justice. This involves debate and emotion. The story is thus placed at the heart of the American legal drama . Americans were able to follow live and at length the trial of Derek Chauvin, the police officer accused of the murder of George Floyd.
Moreover, this production of truth that punishes or absolves will constitute the driving force of another series that has remained in the memories. "Gentlemen the Juries" staged fictitious trials for more than 10 years on the second channel this time. Viewers played the role of jurors in this reconstructed assize court. We watched their deliberation, then came the time to vote. This time, the dramaturgy included the process of deciding on the sentence to be imposed. The investigation of the average person was now part of the televised judicial truth, and it mattered little that the latter was pure fiction. The truth-establishing system specific to justice worked, that was the main thing.
Robert Hossein did the same in the service of a gambling data polandpopular theatre tasked with revisiting the major issues in French history, from Marie-Antoinette to the Seznec affair, including that of the Courrier de Lyon. At the risk of seeing the judicial crucible produce a purely formal spectacle.
This was the case of "Stars à la barre" where personalities, helped by lawyers, confronted each other on the themes of the day. A verdict was rendered by a jury present on the set. At the end of the 80s, the show was short-lived. The image of justice was beginning to fade. The exact opposite of the American trajectory.
The image of justice, a powerful constant in American culture
There, the legal narrative flourished. The story is well-known. In 1959, television filmed its first trial . 40 years earlier, the cinema, although silent at the time, had told the story of a man wrongly accused of murder. DW Griffith made this film called "The Mother and the Law". It was a fictional film. The visual account of a real trial was made, still in cinema, in 1935 with the judgment of Bruno Hauptman accused of having kidnapped and killed the child of the Lindberg couple.
Since then, in the theatre, on the big screen as well as on the small screen, the legal drama is omnipresent . TV channels are dedicated to it, such as the famous Court TV which appeared in 1991.
In her well-documented article (in the Revue française d'études américaine 1998) on "spectacle justice in the United States" Régine Hollander describes the close relationship between images and American justice . Fiction and non-fiction films are used in universities to train for the legal profession. The image plays a full educational role across the Atlantic, even if the courtroom remains almost the only place highlighted by filmmakers or producers of shows. Unlike our inquisitorial system, there, the accusatory principle and the confrontation that accompanies it organize the exercise of justice. This involves debate and emotion. The story is thus placed at the heart of the American legal drama . Americans were able to follow live and at length the trial of Derek Chauvin, the police officer accused of the murder of George Floyd.