In Liliana Cavani’s The Night Porter (1974) a concentration camp survivor (Charlotte Rampling) and her tormentor (Dirk Bogarde) act out their relationship as a sexual cathexis over a decade after the end of the war. This event considers this film with regards to Rosee Rosen: Vile, Evil Veil.
Art historian and writer Griselda Pollock will show extracts from the film and together with Adrian Rifkin she will set out some questions concerning the concentrationary, the sexual and Arendt’s political lessons in the aesthetic field.
Griselda Pollock is Professor of the Social & Critical Histories of Art at Leeds University. She has worked extensively on Hannah Arendt’s writing and who directed the AHRC programme Concentrationary Memories at Centre CATH, Leeds University, and recently co-edited with Max Silverman Aesthetics as Political Resistance in Alain Resnais’s Night and Fog (2011).
Adrian Rifkin is Professor of Art Writing at Goldsmiths, University of London.
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