FQ Columnist Amelie Hastie responds to Jacques Audiard's award-winning film Dheepan (2015), and acknowledges a long-standing attention to the filmmaker's work, stating: “Jacques Audiard's films move me. To screams, to tears, to fits of desire. I can remember every theatrical viewing of each of his films I have seen.” Hastie's column goes on to consider whether the films actively altered her own sense of perception, or whether her altered states determined her perception of Audiard's films. Engaging with the work of Henri Bergson, and exploring the themes of guardianship and traumatic fictions, Hastie delves into Audiard's logics vis-à-vis her own “matter and memory,” including an appreciation of her dog, Arlo.
The Vulnerable Spectator: “I know that dog”: Witnessing Jacques Audiard's Dheepan
Amelie Hastie has recently contributed essays on teaching film and television to Cine-Files and Flow. The author of two books on women and film history, Cupboards of Curiosity: Women, Recollection and Film History (Duke University Press, 2007) and The Bigamist (BFI, 2009), she is now completing a volume on the 1970s television series Columbo (forthcoming from Duke University Press). She is Professor and current Chair of Film and Media Studies at Amherst College.
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Amelie Hastie; The Vulnerable Spectator: “I know that dog”: Witnessing Jacques Audiard's Dheepan. Film Quarterly 1 September 2016; 70 (1): 100–106. doi: https://doi.org/10.1525/fq.2016.70.1.100
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