HomeSenior Lecturer in French and Film Studies
Room: 104
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; post-war French cinema; representations of the Holocaust and the Franco-Algerian War; and the relationship between film, memory and testimony.
I welcome applications from research students interested in working in these and related fields. I am currently co-supervising PhDs on the following topics: futurity, risk and love in the philosophy of Emmanuel Levinas; film viewing and political efficacy
I currently teach two final-year undergraduate modules (FLM300, FLM311) and an MA option (SMLM008) based on my research specialisms, and co-teach a second-year core course in film theory (FLM003). I have also developed, in collaboration with a colleague, a first-year writing-intensive interdisciplinary module (SML018). I am Associate Director of Graduate Studies in Film.
Selected publications:
Books and edited works
- Film and Ethics: Foreclosed Encounters, co-authored with Lisa Downing (London; New York: in press with Routledge, forthcoming 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)
Articles and book chapters
- ‘“Veiller de cet étrange observatoire”: Nuit et brouillard and the Concentrationary Gaze’, in book on Alain Resnais’s Night and Fog, ed. by Maxim Silverman and Griselda Pollock (London: I. B. Tauris, forthcoming)
- ‘Holocaust Writing and Film’, in Cambridge History of French Literature, ed. by Bill Burgwinkle, Nick Hammond and Emma Wilson (Cambridge: Cambridge University Press, forthcoming 2009–10)
- ‘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 Haneke’s Caché’, Studies in French Cinema, 7: i (January 2007)
- ‘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