Vanessa Brutsche
Biographic Data
| ID | 3063175 |
|---|---|
| NAME | Vanessa Brutsche |
| GIVEN NAMES | Vanessa |
| FAMILY NAME | Brutsche |
| SIGNATURE | BRUTSCHE V |
| AFFILIATIONS | The College of William & Mary |
| ORCID | 0000-0002-2510-5170 |
| VERIFIED | Yes |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 4 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2017 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 0 |
Viral Camus
This article evaluates the place of The Plague in the emergent cultural memory of the COVID-19 pandemic, a time when the novel was said to have “gone viral” in popular culture. I ask what it means to reread The Plague in the current moment, a time characterized not just by a pandemic but by widespread unrest and social movements on both ends of the political spectrum. While rereadings of Camus in light of COVID-19 seem predicated on a turn away f…
Retro Visions
While the trend for historical subjects in 1970s French cinema is often remembered in terms of la mode rétro, defined by an obsessional fixation on the Occupation, this article examines films that revisit two polarizing scandals during the explosive final years of the Third Republic. Alain Resnais's Stavisky (1974) recounts the mysterious death of a swindler that triggered a political crisis, leading to the violent street protests of February 6, …
Duras's Aurélia Steiner and the Ethics of Cinematic Form
One of the main tenets of the ‘politique des auteurs’ that emerged from the Cahiers du cinéma of the 1950s and 1960s holds that film form is a matter of ethics — or in the well-known words of Jean-Luc Godard, ‘les travellings sont affaire de morale’.1 As a critical shorthand that distils a certain approach to cinema, this maxim encapsulates the joining of ethical and aesthetic preoccupations in auteur theory. The tracking shot is a camera gesture…
Figures of Universalism
No prominent works on this page.
Figures of Universalism
Duras's Aurélia Steiner and the Ethics of Cinematic Form
One of the main tenets of the ‘politique des auteurs’ that emerged from the Cahiers du cinéma of the 1950s and 1960s holds that film form is a matter of ethics — or in the well-known words of Jean-Luc Godard, ‘les travellings sont affaire de morale’.1 As a critical shorthand that distils a certain approach to cinema, this maxim encapsulates the joining of ethical and aesthetic preoccupations in auteur theory. The tracking shot is a camera gesture…
Viral Camus
This article evaluates the place of The Plague in the emergent cultural memory of the COVID-19 pandemic, a time when the novel was said to have “gone viral” in popular culture. I ask what it means to reread The Plague in the current moment, a time characterized not just by a pandemic but by widespread unrest and social movements on both ends of the political spectrum. While rereadings of Camus in light of COVID-19 seem predicated on a turn away f…
Retro Visions
While the trend for historical subjects in 1970s French cinema is often remembered in terms of la mode rétro, defined by an obsessional fixation on the Occupation, this article examines films that revisit two polarizing scandals during the explosive final years of the Third Republic. Alain Resnais's Stavisky (1974) recounts the mysterious death of a swindler that triggered a political crisis, leading to the violent street protests of February 6, …
History (3 works) · Law (3 works) · Political science (3 works) · Politics (3 works) · Art (2 works) · Art history (2 works) · Epistemology (2 works) · History (2 works) · Law (2 works) · Literature (2 works)