Staff profile of Film Studies Senior Lecturer Dr Libby Saxton

Dr Libby Saxton

Senior Lecturer in French and Film Studies


Room: Arts 1.04
Tel: +44 (0)20 7882 8328
Fax: +44 (0)20 8980 5400
email: e.a.Saxton@qmul.ac.uk

I am a graduate of the Universities of Oxford (BA Hons) and Cambridge (MPhil, PhD) and took up a lectureship at Queen Mary in 2002.

My research interests include the interactions between film and continental thought, especially philosophies of ethics; French cinema; and representations of the Holocaust and the Algerian War of Independence. At the moment I am working on a monograph on European film and postsecular thought and co-editing the volume Holocaust Intersections: Genocide and Visual Culture at the New Millennium (forthcoming with Legenda in 2012).

I welcome applications from research students interested in working in these and related fields.

I currently teach two final-year undergraduate modules (FLM300, FLM311) and an MA module (SMLM008) based on my research specialisms, and co-teach second-year modules on film theory (FLM003) and film, literature and adaptation (FLM502). I have also developed, in collaboration with a colleague, a first-year writing-intensive interdisciplinary module (SML018).

 

Books and edited volumes:

  • Film and Ethics: Foreclosed Encounters, co-authored with Lisa Downing (London; New York: Routledge, 2009)
  • Haunted Images: Film, Ethics, Testimony and the Holocaust (London: Wallflower, 2008)
  • Seeing Things: Vision, Perception and Interpretation in French Studies, co-ed. with Simon Kemp (London & Bern: Peter Lang AG, 2002)

Journal articles and book chapters:

  • ‘Nuit et brouillard and the Concentrationary Gaze’, in Concentrationary Cinema: Aesthetics as Political Resistance in Alain Resnais’s ‘Night and Fog’, ed. Maxim Silverman and Griselda Pollock (Oxford; New York: Berghahn, forthcoming 2011)
  • ‘Terms of Engagement: Algeria, France and the Middle East in Barbet Schroeder’s L’Avocat de la terreur and Philippe Faucon’s Dans la vie’, Modern and Contemporary France, special issue ‘France and Algeria in Contemporary Visual Culture’, ed. by Joseph McGonagle and Edward Welch, 19: 2 (May 2011), 209–22
  • ‘Holocaust Writing and Film’, in Cambridge History of French Literature, ed. by William Burgwinkle, Nicholas Hammond and Emma Wilson (Cambridge: Cambridge University Press, 2011), pp. 671–9
  • ‘Horror By Analogy: Paradigmatic Aesthetics in Nicolas Klotz’s and Elisabeth Perceval’s La Question humaine’, Yale French Studies, special issue ‘Noeuds de mémoire: Multidirectional Memory in Postwar French and Francophone Culture’, ed. by Michael Rothberg, Debarati Sanyal and Max Silverman, 118/119 (2010), 209–24
  • ‘Close Encounters with Distant Suffering: Michael Haneke’s Disarming Visions’, in Auteurism from Assayas to Ozon: Five Directors, ed. by Kate Ince (Manchester: Manchester University Press, 2008), pp. 84–111
  • ‘History, Memory, Fiction in French Cinema’, in Teaching Holocaust Literature and Film, ed. by Robert Eaglestone and Barry Langford (Basingstoke: Palgrave MacMillan, 2008), pp. 102–13
  • ‘Fragile Faces: Levinas and Lanzmann’, Film-Philosophy special issue ‘The Occluded Relation: Levinas and Cinema’, ed. by Sarah Cooper, 11: 2 (August 2007), 1–14 [http://www.film-philosophy.com/2007v11n2/saxton.pdf]
  • ‘Secrets and Revelations: Off-screen Space in Michael Ha neke’s Caché’, Studies in French Cinema, 7: i (January 2007), 5–17
  • ‘Anamnesis and Bearing Witness’, in For Ever Godard: The Work of Jean-Luc Godard 1950–2000, ed. by Michael Temple, James S. Williams and Michael Witt (London: Black Dog, 2004), pp. 364–79
  • ‘Through the Spy-Hole: Indecent Exposures on Screen’, in Exposure: Revealing Bodies, Unveiling Representations, ed. by Kathryn Banks and Joe Harris (London & Bern: Peter Lang AG, 2004), pp. 143–55
  • ‘Anamnesis: Godard/Lanzmann’, Trafic, 47 (Autumn 2003), 48–66
  • ‘Surrendering Possession? Images and Ethics after Auschwitz’, in Possessions: Essays in French Literature, Cinema and Theory, ed. by Julia Horn and Lynsey Russell-Watts (London & Bern: Peter Lang AG, 2003), pp. 199–215
  • ‘The Forbidden Real of French Filmic Testimony’, in Reading and Writing the Forbidden: Essays in French Studies, ed. by Helen Roberts, Hugh Roberts and Bénédicte Facques (Reading: 2001 Group, 2003), pp. 91–102

 

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