會議論文
| 學年 | 100 |
|---|---|
| 學期 | 2 |
| 發表日期 | 2012-06-25 |
| 作品名稱 | Body Images and Politics of Affect in Hiroshima mon Amour |
| 作品名稱（其他語言） | |
| 著者 | Chiu, Han-ping; 邱漢平 |
| 作品所屬單位 | 淡江大學英文學系 |
| 出版者 | |
| 會議名稱 | Fifth International Deleuze Studies Conference 2012 |
| 會議地點 | New Orleans, New Orleans, USA |
| 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. |
| 關鍵字 | |
| 語言 | en |
| 收錄於 | |
| 會議性質 | 國際 |
| 校內研討會地點 | |
| 研討會時間 | 20120625~20120627 |
| 通訊作者 | |
| 國別 | USA |
| 公開徵稿 | Y |
| 出版型式 | |
| 出處 | Fifth International Deleuze Studies Conference, Deterritorializing Deleuze. |
| 相關連結 |
機構典藏連結 ( http://tkuir.lib.tku.edu.tw:8080/dspace/handle/987654321/77731 ) |