Too painful to forget, too painful to remember
Ashes of memory in Marguerite Duras and Alain Resnais’s Hiroshima mon amour (1959) and Duras’s La douleur (1985)
Bibliographic Data
| ID | 12905646 |
|---|---|
| Authors | Brett Ashley Kaplan (0000-0003-0117-4101, University of Illinois Urbana-Champaign, corresponding author) |
| Year | 2021 |
| Volume | 14 |
| Issue | 4 |
| Pages | 834-855 |
| Publication date | 2021-01-25 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Memory Studies (JOURNAL) |
| Journal identifiers | ISSN: 1750-6980 • E-ISSN: 1750-6999 |
| Publisher | SAGE Publishing (PUBLISHER • US) |
| DOI | 10.1177/1750698020988773 |
| OpenAlex | W3121757899 |
| Language | EN |
| References cited | 20 |
This essay threads the striking images of the couple’s embrace at the beginning of Hiroshima mon amour through an examination of the film’s exploration of memory and victim and perpetrator traumas. Duras and Resnais render the lovers almost indistinguishable as, they hold each other, encased in ash. As they embrace, something gently falls on them, encrypts them, isolates them from their surroundings but simultaneously embeds them in their respective histories. If, for Derrida, ash becomes the paradigm for the trace, we can see how this image becomes paradigmatic for memory’s unspooling threads; the film rejects an either/or memory or forgetting when it is a question of traumatic pasts. By re-reading Hiroshima mon amour through the powerful metaphorics of ash and against echoes of the international and dramatic rise in racist discourse, an increased anxiety about nuclear catastrophe, and a return to Duras’s wartime “memoir” La douleur, I show that these texts’ representation of memory and the rotating axes of perpetration and victimization open up larger questions about the trauma of both sides of the culpability line. This reading reveals the fluid border between victimization and perpetration in ways that help explain how both victims and perpetrators are traumatized. Interpreting the film and memoir in this way helps to blaze a path to envisioning an understanding of committing crimes as itself inflicting (self-imposed) trauma. The most optimistic possible implication (one that is completely unlikely) is that if perpetration is also viewed as traumatizing then perpetrators would no longer fling nuclear bombs at the racialized other and expect to sleep well
Abandonment (legal · Art · Cognitive psychology · Forgetting · Linguistics · Literature · Memoir · Politics · Psychoanalysis · Reading (process · Representation (politics · Traumatic memories · French Historical and Cultural Studies · History · Law · Memory, Trauma, and Commemoration · Philosophy · Philosophy, History, and Historiography · Psychology
Cinema II
Tactile Eye
Walled States, Waning Sovereignty
Unclaimed Experience
Worlds of Hurt
The Predication of Violence, the Violence of Predication
From Shoah to holocaust
History, Memory and Trauma in Photography of the Tondues
Orient(s) de Marguerite Duras
Perpetrator Trauma and Current Israeli Documentary Cinema
A Strange Child of Paradise
Traumatic Postmodern Histories
Postcolonial Witnessing
Marguerite Duras
Intellectuals, Culture, and the Vichy Years
Autour De La Rue Saint-Benoît
| Citation velocity | historical |
|---|---|
| Highly cited | No |