Libby Saxton
Biographic Data
| ID | 3745818 |
|---|---|
| NAME | Libby Saxton |
| GIVEN NAMES | Libby |
| FAMILY NAME | Saxton |
| SIGNATURE | SAXTON L |
| AFFILIATIONS | Queen Mary University of London |
| VERIFIED | No |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 7 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2011 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
In/human hues
Concentrationary Cinema
Since its completion in 1955, Alain Resnais’s Night and Fog ( Nuit et Brouillard ) has been considered one of the most important films to confront the catastrophe and atrocities of the Nazi era. But was it a film about the Holocaust that failed to recognize the racist genocide? Or was the film not about the Holocaust as we know it today but a political and aesthetic response to what David Rousset, the French political prisoner from Buchenwald, id…
Make Believe
This article seeks to highlight the relevance of Marie-José Mondzain's trailblazing writings on Byzantine image theory and its modern legacy, with particular reference to Image, icône, économie (Image, Icon, Economy, 1996) and Homo spectator (2007), to the revived debate about belief in cinema. Like André Bazin's and Christian Metz's classical accounts of this subject, Xavier Giannoli's film L'Apparition (The Apparition; 2018) grants a privileged…
Rising flags, falling soldiers
This dossier seeks to expose and challenge the pervasive assumption that the modern secular icon is necessarily still or photographic and therefore marginal to the moving imagery of film and cinema. Our focus, in the following three case studies, on images linked to political violence reflects how this theme has dominated our notion of an icon throughout the eras of photography, cinema and digital technologies. This introduction briefly considers…
The Falling Soldier’ and film
A man collapses backwards, his arm splayed, a rifle slipping from his grasp. The picture is still and contains no motion blur, but his off-balance posture anticipates movement, while also foreshadowing death’s stasis. The image pulsates, in other words, with a past and a future. Taken near Córdoba, probably by Robert Capa, and usually dated 5 September 1936, during the initial throes of the fledgling Spanish Republic’s defence against insurgent g…
Holocaust Intersections
Terms of Engagement
Recent research at the intersection between postcolonial and Holocaust studies has drawn attention to the composite, hybrid nature of cultural memory and the connections forged in post-war French film and literature between violent phenomena that have frequently been approached as discrete, such as colonialism and fascism. Such studies have dwelt in particular on the relationship between French colonial repression in Algeria and Nazi anti-Semitis…
Rising flags, falling soldiers
This dossier seeks to expose and challenge the pervasive assumption that the modern secular icon is necessarily still or photographic and therefore marginal to the moving imagery of film and cinema. Our focus, in the following three case studies, on images linked to political violence reflects how this theme has dominated our notion of an icon throughout the eras of photography, cinema and digital technologies. This introduction briefly considers…
Terms of Engagement
Recent research at the intersection between postcolonial and Holocaust studies has drawn attention to the composite, hybrid nature of cultural memory and the connections forged in post-war French film and literature between violent phenomena that have frequently been approached as discrete, such as colonialism and fascism. Such studies have dwelt in particular on the relationship between French colonial repression in Algeria and Nazi anti-Semitis…
Holocaust Intersections
Rising flags, falling soldiers
This dossier seeks to expose and challenge the pervasive assumption that the modern secular icon is necessarily still or photographic and therefore marginal to the moving imagery of film and cinema. Our focus, in the following three case studies, on images linked to political violence reflects how this theme has dominated our notion of an icon throughout the eras of photography, cinema and digital technologies. This introduction briefly considers…
The Falling Soldier’ and film
A man collapses backwards, his arm splayed, a rifle slipping from his grasp. The picture is still and contains no motion blur, but his off-balance posture anticipates movement, while also foreshadowing death’s stasis. The image pulsates, in other words, with a past and a future. Taken near Córdoba, probably by Robert Capa, and usually dated 5 September 1936, during the initial throes of the fledgling Spanish Republic’s defence against insurgent g…
Make Believe
This article seeks to highlight the relevance of Marie-José Mondzain's trailblazing writings on Byzantine image theory and its modern legacy, with particular reference to Image, icône, économie (Image, Icon, Economy, 1996) and Homo spectator (2007), to the revived debate about belief in cinema. Like André Bazin's and Christian Metz's classical accounts of this subject, Xavier Giannoli's film L'Apparition (The Apparition; 2018) grants a privileged…
Concentrationary Cinema
Since its completion in 1955, Alain Resnais’s Night and Fog ( Nuit et Brouillard ) has been considered one of the most important films to confront the catastrophe and atrocities of the Nazi era. But was it a film about the Holocaust that failed to recognize the racist genocide? Or was the film not about the Holocaust as we know it today but a political and aesthetic response to what David Rousset, the French political prisoner from Buchenwald, id…
In/human hues
Art (7 works) · Italian Fascism and Post-war Society (4 works) · Movie theater (4 works) · Visual arts (4 works) · History (3 works) · Law (3 works) · Photography (3 works) · Photography and Visual Culture (3 works) · Political science (3 works) · Aesthetics (2 works)