Should we broadcast all the recordings of the November 13 attacks?

Monday, September 13, on the fourth day of the trial for the attacks that left 130 dead and hundreds injured in Paris and Saint-Denis, the president of the Paris Assize Court ruled: the photographs, videos and sound recordings inherent in the attacks and added to the record, will be broadcast at future hearings.  

At the request of associations of victims, Jean-Louis Périès also indicated the dates on which documents likely to shock families, victims or sensitive people will be presented.

Thus the hearings of September 16, 17, 20 and 21 will contain raw recordings. 

From September 16, there will be "observations of the images of the crime scenes at the Stade de France".

On Friday September 17, there will be "photo and video presentations concerning the facts committed at the Bataclan and part of the sound recording made at the Bataclan. I also say it for the civil parties who follow through the webradio, a so specified the judge. So that these people make their arrangements ". 

Kalashnikovs detonation and cries of horror 

Kalashnikov detonations, howls of spectators, the voices of terrorists and their demands, the explosion of a suicide bomber's belt, the arrival of the police ... These horror scenes were captured on the dictaphone of a technician present on the evening of November 13, 2015, in the Bataclan concert hall, during the Eagles of Death Metal concert. This audio document of 2 hours, 38 minutes and 44 seconds, which is now part of the exhibits seized and available to justice, will at least in part be broadcast.  

The president also indicated that "photos and videos of Comptoir Voltaire, Casa Nostra and La Belle Équipe" will also be released on September 20. "It is a very good thing that the dates of dissemination of sensitive documents could be communicated, rejoices Marie-Claude Desjeux, president of the National Federation of Victims of Attacks and Collective Accidents (Fenvac), in an interview. to France 24. It was a big question that we had throughout the preparation of the trial with the victims, announcing the schedule of these broadcasts will allow families to attend the hearing or not. Because these moments are very difficult for them, some have said they want to attend, others do not want to hear anything.There is a very wide range of reactions and it is good that everyone can be free to choose ”.  

"I want to know everything"

Because the question is debated.

The National Anti-Terrorism Prosecutor's Office, for its part, issued an unfavorable opinion regarding the dissemination of raw recordings.

"There is no need to listen to the cries of horror and the gunshots to understand what they experienced", stormed on his side Me Didier Seban, lawyer for several civil parties, questioned by

BFMTV.

"It can rekindle mourning and we will recommend that the victims rather leave the room at that time," said Carole Damiani, president of the Paris Aide aux Victimes association.  

Paul-Henri Jacob de Cordemoy Baure, victim at the Stade de France who was only a few meters from a suicide bomber, on the contrary judges these wiretaps. "It is important to know precisely what was said, so that it there is a maximum of elements at the trial, he believes in an interview with France 24. I am ready to hear everything, I want to know everything. " Several lawyers and civil parties also believe that these recordings could confront the defendants with horror and perhaps trigger awareness in the box.  

Still, the civil parties have not been present since the start of the trial. “Abdeslam's behavior on this trial may have dissuaded some victims from coming,” said Fenvac president Marie-Claude Desjeux. There are some eagerly awaited hearings. As the victims learn about the trial and become more familiar with it, it is not impossible that they will be more numerous every day and choose to testify in the media. And we will see more. green necklaces [reserved for civil parties who agree to answer questions from the media, editor's note] than red necklaces within the audience. "

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