Love and Catastrophe: Filming the Sublime in Hiroshima Mon Amour

Reni Celeste

Abstract






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.

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