Body Images and Politics of Affect in Hiroshima mon Amour

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题名:	Body Images and Politics of Affect in Hiroshima mon Amour
作者:	Chiu, Han-ping;邱漢平
贡献者:	淡江大學英文學系
日期:	2012-06-26
上传时间:	2012-07-16 11:26:51 (UTC+8)
摘要:	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.
關聯:	Fifth International Deleuze Studies Conference, Deterritorializing Deleuze.
显示于类别:	[英文學系暨研究所] 會議論文

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