Résumé

This article proposes a multidimensional analysis of Jean Vigo’s medium-length film, Zéro de conduite, articulating three fundamental axes: genetic critique – from memory to film; analysis of the filmic object – an aesthetic analysis focused on the collaboration between Jean Vigo and cinematographer Boris Kaufman; and pedagogical reception – how teachers can use this film to see themselves reflected in the mirror. We investigate how Vigo’s autobiographical memory is transfigured into symbolic realism and surrealism, creating a narrative of resistance. Finally, we discuss the film’s potential as a reflective device for teacher training (and self-training), questioning models of authority and institutional “blindness” to the culture of childhood.)