

Nice : ten years later
On July 14, 2016, the city of Nice was the scene of a terrorist attack of extreme magnitude. This collective traumatic event necessitated the implementation, within child and adolescent psychiatry, of a specific care program for psychotrauma, tailored to a population of young children. Because the impact of “post-traumatic stress disorder” (PTSD)—on the neurocognitive, emotional, and sensorimotor levels—disrupts the developmental trajectory of young children, a rapid therapeutic response was necessary. A sensory-mediated therapy group was thus created to restart the process of sensory integration and regulation in this context of developmental disruption linked to psychotrauma.

Many of the civil parties in the trial regarding the July 14, 2016, attack in Nice lamented the lack of media coverage during the month set aside for their testimony. The socio-spatial distance between Paris and Nice was highlighted: the victims from Nice were not given enough attention to spark media interest or be remembered. This article seeks to deconstruct the notion of homogeneity among the victims of the July 14, 2016, attack and to examine the behavioral norms expected by judicial, media, and political institutions when recounting the stories of terrorism victims—norms from which the victims are said to have deviated. The failures of police and judicial institutions highlighted by the victims contribute to the complexity of the narrative, making its commemoration more difficult.
The trials for the November 13, 2015, attacks and the July 14, 2016, attack in Nice were held between September 2021 and December 2022 at the Île de la Cité Courthouse in Paris. These historic terrorism trials were described as “unprecedented” given the unprecedented number of participants and the scale of the operations put in place. This article explores ways of “listening” to these trials from two perspectives: first, through a sonic journey aimed at sensitively illuminating their day-to-day reality. It intertwines a ritualized relationship with a judicial space—unusually fragmented by security measures—with the symbolism of a centuries-old monument where history is lived out, day after day and over time, by a specific micro-society. Listening to these trials also involves analyzing sound as a central element of a system designed to ensure the public nature of the proceedings for an exceptional number of participants—particularly the civil parties—both inside and outside the courtroom. The microphone, now indispensable, nevertheless challenges the principles of adversarial debate, as the presiding judge controls who is allowed to speak. The judicial ritual, for its part, is constrained by the need to remain stationary in front of the microphone. Finally, it is important to examine the stages involved in creating the web radio service—intended for civil parties—which was established notably through amendments to the law and the Code of Criminal Procedure. These initial points lay the groundwork for a reflection on how to listen to historic terrorism trials, without which the analysis of the content of the proceedings—which will be conducted separately—would be biased.
The purpose of this article is to analyze the role of amateur videos in the dissemination of information, focusing on the special editions of international newscasts broadcast in the aftermath of the July 14, 2016, terrorist attack in Nice. In a context marked by a systematic suppression of death, these videos contribute, through their audio component, to the celebration of the survivors. These “martyr images” serve as testimonies and help to exorcise violent death within media rituals such as television news programs.
This research highlights the tensions and contradictions between the erasure of traces of the July 14, 2016, attack in Nice and initiatives to preserve its memory, both collective and individual. An examination of official memorials and more intimate ones reveals how they are integrated into public space, the uses and practices that engage with them, and the staging and discourses that frame them. For example, *L’Ange de la Baie*, a memorial work by artist Jean-Marie Fondacaro, aims to reconcile life and death through movement and is gradually finding its place in the city.

Frédéric Vinot « Resilience or Reconstruction? A Psychoanalytical Approach to Urban Space After the Attack on the Promenade des Anglais (Nice, 14.07.2016) » in Katharina Karcher, Yordanka Dimcheva, Mireya Toribio Medina, et Mia Parkes (ed.), Urban Terrorism in Contemporary Europe, New York, Palgrave Macmillan, 2024, pp. 189-207.
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