Film-Philosophy International Salon-Journal (ISSN 1466-4615) Vol. 9 No. 38, July 2005 Reni Celeste Love and Catastrophe: Filming the Sublime in _Hiroshima Mon Amour_ [1] This essay studies two scenes from Alain Resnais's film _Hirsoshima Mon Amour_ (1959) alongside the concept of the sublime in order to take film from a discussion of desire to one of love. Love is understood, according to philosopher Emmanuel Levinas's description, as an infinite alterity, rather than as totality or unity. Though Levinas insists on a (...) separation between love and tragedy, and argues that the work of art cannot achieve the ethical, I argue that Resnais's film expresses a sublime achievement by staging, or representing, the infinite tragically through failure and betrayal. (shrink)

The cinema has long reigned as the kinetic medium of the twentieth century. Early in itsdevelopment it secured its privilege over the more traditional arts through itsunprecedented control and manipulation of time. In The Great Train Robbery and Life of an American Fireman crowds had theirfirst experiences of film crosscutting between two different spaces and moments in time.1They saw a shot of a raging house fire, and then suddenly a shot of a sleeping firemanin the station. Between these two spaces (...) is a simple cut, and yet here is the preciselocation of a vast frontier: the pleasure of waiting for something forever on the verge ofarrival. This expectation of the event, the catastrophe, and the culmination, is the fuel formodern cinema. The Hollywood tradition has been a developing story of technology’sattempts to exploit this passion, pushing the barriers of how much suspense can beintroduced and resolved within the space of a screen and a segment of time, and in the past thirty years the action film has become one of the most exciting genres, spinning offnumerous subgenres and transforming the industry. (shrink)