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    Please use this identifier to cite or link to this item: http://tkuir.lib.tku.edu.tw:8080/dspace/handle/987654321/77731

    Title: Body Images and Politics of Affect in Hiroshima mon Amour
    Authors: Chiu, Han-ping;邱漢平
    Contributors: 淡江大學英文學系
    Date: 2012-06-26
    Issue Date: 2012-07-16 11:26:51 (UTC+8)
    Abstract: Hiroshima mon amour opens with a close-up of body. Two sets of body images alternate, with
    one about victims of the atomic bombing in Hiroshima and the other about a Japanese architect
    and a French actress in the act of love-making. The French woman shared with the Japanese man
    the memory of how she was brutalized by the death of her first lover, a German soldier of the
    occupying force stationed at her home town, Nevers, and by the townspeople’s retaliatory act of
    shaving her hair and her parents keeping her in a basement. Set fourteen years after the end of
    World War II, Hiroshima mon amour reveals the frequent shift between what Deleuze calls
    “peaks of present” and “sheets of past” in Cinema 2: The Time-Image, allowing the war
    memories and images of atomic bombing victims to interpenetrate, and the virtual past and the
    actualized present to alternate. This paper uses the images of this film to delve into the ethical
    view of body. As Deleuze states in Expressionism in Philosophy: Spinoza, “every body extends
    its power as far as it can” (269). Based on this ethical issue, the paper will explore a key
    dimension of the politics of affect, that “we live cut off from ‘what we can do’” (269). Combining
    Deleuze’s film studies and his views on body and affect, this paper will explore Deleuze’s
    relevance to the emerging debates among philosophy, science, and art as embodied by Hiroshima
    mon amour.
    Relation: Fifth International Deleuze Studies Conference, Deterritorializing Deleuze.
    Appears in Collections:[Graduate Institute & Department of English] Proceeding

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