| Nadine Boljkovac |
| French, University of Cambridge |
| January, 2010 |
| In 2010, I obtained my PhD in Film-Philosophy from the University of Cambridge (Emma Wilson, Supervisor; passed without corrections by Ian James, Cambridge, Advisor, and James Williams, Dundee, External Examiner) following the completion of my MA at York University, Canada (Janine Marchessault, Supervisor; Michael Zryd, Advisor; Barbara Godard, External), and Honours BA in Cinema Studies and English at the University of Toronto. I am author of the book Untimely Affects: Gilles Deleuze and The Ethics of Cinema (Plateaus - New Directions in Deleuze Studies, Edinburgh University Press, forthcoming 2012), co-editor with Charlie Blake of the book Deleuze and Affect and among publications have book chapters and essays in ‘Schizoanalysis and Visual Culture’: A Special Issue of Deleuze Studies (Edinburgh University Press, July 2011); ‘Remembering Barbara Godard’: A Special Issue of Open Letter: A Canadian Journal of Writing and Theory (August 2011); Anamnesia: Private and Public Memory in Modern French Culture (Peter Lang, 2009) and Gilles Deleuze: Image and Text (Continuum, 2009). Prior to a 2010 Postdoctoral Fellowship at the Institute for Advanced Studies in the Humanities, University of Edinburgh, I lectured for four film-philosophy and theory courses as a Teaching Fellow at the University of Aberdeen (2009-2010) and am currently affiliated with the Visible City Project + Archive under the direction of Janine Marchessault, York University, Canada. |
Abstract |
| This thesis explores selected works of Chris Marker and Alain Resnais, in dialogue with the writings of Gilles Deleuze, to discern how life and thought might productively persist post World War II. Through concepts and images that interrogate ‘what we are now living through’, as writes Pierre Klossowski à propos Nietzsche, this thesis perceives and assesses a modern melancholy whose disembodied wounds bespeak the loss of actual limits and survival of virtual remains. As such, while this thesis attempts to be as mindful as Marker’s Sans Soleil (1982) with regard to all things seen and unseen ‘that quicken the heart’, it distinguishes profoundly life-affirming possibilities through the ‘untimely’ or ever-new creative means of these cine-philosophers whose works speak directly to the essences of cinema, thought and life itself. |
Film-Philosophy | ISSN 1466-4615
Tweet