"Summer Was Inside the Marble": Marguerite Duras and Alain Resnais's Hiroshima mon amour

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"Summer Was Inside the Marble" acknowledges that the dropping of the bomb on Hiroshima demands a new post-nuclear indexicality, in order to embrace the unimaginable: representing the immaterial. With an emphasis on Resnais and Duras's 1959 film Hiroshima mon amour, this essay reads photography's early prints (Talbot and Atkins) alongside the "photographs left on stone," shadows of bodies left behind from the terrible radiation that devoured them on the spot. At hand are issues of memory, seeingness, forgetting, devastating beauty, and the unrepresentability of both love and the possible annihilation of the world.
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  • Photography & Culture is a refereed journal that is international in its scope and inter-disciplinary in its contributions. It aims to interrogate the contextual and historic breadth of photographic practice from a range of informed perspectives and to encourage new insights into the media through original and incisive writing.

    Photography & Culture publishes research papers, discursive critiques, and reviews. In doing so, it offers a leading platform for critical thinking on photography and as essential reading the world over for academics, curators and practitioners with a central and indeed tangential interest in the media.

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