A Sociological and Aesthetical Essay on Alain Resnais's Film Hiroshima Mon Amour

The aim of this text is to analyse the film "Hiroshima mon amour" (Hiroshima, my love - a black and white French film of 1959), directed by the French filmmaker Alain Resnais (1922-2014), in order to highlight some sociological aspects present in the film and to establish an interconnection between, on one hand, some aspects usually seen as more accustomed to the social and political discussion in the director's films (in this case, France during the occupation and the bomb of Hiroshima - both events bonded to the Second World-War), on the other hand, the subjective process, particularly the aspects related to memory and the romantic relationship of the female character ( played by Emmanuelle Riva ) in Nevers (during the war ) and in Hiroshima (few years after the war). The main methodological procedure is the internal analysis of the film, giving special emphasis to the expressive elements of cinema, such as camera movements, framing, music, dialogues, gestures etc. Thus, resuming the aesthetical discussion (analysing plans and musical repetitions, the "juxtaposition" of the two stories and images from Nevers and Hiroshima (among others) it is intended to explore social and political issues presented in the film, particularly, the flow of memories involving a character who survives in a world that has lived the experience of the war and the "annihilation". This proposal is part of my ongoing research called "The becoming Inhuman of human. A sociology of "non-actual" in Alain Resnais's work. Studies on Sociology and Cinema, which also includes the films "Nuit et brouillard" (1955 - Night and fog) and "La guerre est finie" (1965 - The war is over), both from the same director.