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We live in 'reenactive times'. Recent decades have witnessed a marked proliferation of various forms of reenactment across numerous cultural contexts and domains to the point that it is today seemingly impossible to enter museums, heritage sites, art galleries or even to turn on the television without encountering at least some elements of this veritable boom. In such a way, reenactment has become a ubiquitous cultural means of representing, commemorating and investigating the past, called upon for a variety of reasons, by a variety of practitioners and with a variety of effects. By bringing the autobiographical work of four experimental filmmakers from France and Belgium - Chantal Akerman (1950-2015), Vincent Dieutre (1960-), Boris Lehman (1944-), Agnès Varda (1928-2019) - into dialogue, Autobiographical Reenactment in French and Belgian Film: Repetition, Memory, Self considers them in relation to this broad cultural shift and explores the various forms of 'autobiographical reenactment' that their films contain. In the work of these four filmmakers, autobiographical reenactment offers a radical and varied technique of self-investigation and self-representation that sustains often challenging engagements with identity, subjectivity, memory, knowledge, time, feeling, loss, truth, reality and history, whilst leading us to continually rethink our understanding of what autobiography can be and can do.Tom Cuthbertson is a Leverhulme Trust Early Career Research Fellow in the School of Modern Languages at Newcastle University.
The avant-garde in the early-twentieth century planted its flag on the ruins of the day's pieties, with religion a particularly urgent target. Movements such as Futurism, Dada, and Surrealism often represented religion in blasphemous, prurient, or sacrilegious ways: but the invocation of spirituality and scripture were also indispensable to their transcendent, revelatory experiences. Examining the contemporaneous, and cross-national, careers in poetry and artistic propaganda of Guillaume Apollinaire (1880-1918), F. T. Marinetti (1876-1944), and Ezra Pound (1885-1972), James Leveque frames the early avant-garde as an attempt to rediscover the necessity of prophecy and apocalyptic thought. Biblical literature furnished a sense of legitimacy and distinction to these avant-garde writers by charging many of their works with themes of spiritual direction in a new rationalized and secularized century, allowing them to present themselves as preachers of the End Times or visionaries of a new heaven and a new earth.James Leveque has taught literature at the University of Edinburgh, University of Dundee, and Edinburgh Napier University, and currently teaches at the City Literary Institute in London.
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