By Claude Lanzmann
"The guillotine - and capital punishment and different diversified tools of allotting loss of life extra quite often - were the abiding obsessions of my lifestyles. it all started very early. i have to were not more than ten years old...' Born to a Jewish relations in Paris, 1925, Lanzmann's first come across with radicalism used to be as a part of the Resistance through the Nazi profession. He and his father have been infantrymen of the underground till the top of the conflict, smuggling fingers and making raids at the German military. After the liberation of France, he studied philosophy on the Sorbonne, making a living as a scholar in impressive methods (by dressing as a clergyman and accumulating donations, and stealing philosophy books from bookshops). It used to be in Paris despite the fact that, that he met Jean-Paul Sartre and Simone de Beauvoir. It was once a life-changing assembly. The younger guy begun an affair with the older de Beauvoir that may final for seven years. He turned the editor of Sartre's political-literary magazine, Les Temps Modernes - a place which he holds to today - and got here to understand crucial literary and philosophical figures of postwar France. And all this prior to he was once thirty years old...Written in specific, wealthy prose of infrequent good looks, equipped - like human recollection itself - in interconnected fragments that eschew traditional chronology, and describing intimately the making of his seminal movie Shoah, The Patagonian Hare turns into a piece of artwork, extra major, extra formidable than mere memoir. In it, Lanzmann has created a love track to existence balanced by way of the attention of a real auteur."
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Additional info for The Patagonian Hare: A Memoir
Women are both seeing and seen; they are spectators and ﬁlmmakers behind and characters in front of the camera. When asking what it means to see, I am asking about the act of looking as well as about what it means to be looked at. Both questions have been issues in feminist ﬁlm theory that began by problematizing images of women on cinema screens. Molly Haskell, one of the ﬁrst to write on representations of women in ﬁlms, pointed out that women are represented in male-authored cinema through a limited number of stereotypical roles.
20 My aim in this book is to develop an alternative understanding of seeing and being seen as something other than a pattern of dominance and submission. Since feminist ﬁlm theory has generally associated the male gaze with the domineering look, I focus on women who practice the gaze in the hope of ﬁnding an alternative. But, one might ask, has this question not been asked long ago within feminist ﬁlm theory? My answer in this book is that there is still space for the question to be asked, and for an answer to be put forward.
81 Through his self-expression, the Other contests any meaning that might be ascribed to him by the I and makes clear that he does not require to be deﬁned by the I in order to have meaning. ”84 Levinas compares speech and vision directly in terms of their ability to establish an ethical relation in which the Other remains other: Speech cuts across vision. In knowledge or vision the object seen can indeed determine an act, but it is an act that in some way appropriates the “seen” to itself, integrates it into a world by endowing it with a signiﬁcation, and, in the last analysis, constitutes it.