Publications: Dr Elizabeth Saxton
Saxton E(2020).
No Power Without an Image: Icons Between Photography and Film. Edinburgh University Press
Saxton E, Pick A(2019).
Introduction (to special issue, 'Religion in Contemporary Thought and Film'). Paragraph
vol. 42,
(3)
Saxton E(2019).
Make Believe: Marie-José Mondzain and Cinema's Christian Economy. Paragraph
vol. 42,
(3)
SAXTON EA(2016).
'The Falling Soldier' and Film. Screen (Oxford)
vol. 57,
(3)
353-361.
WESTWELL GR, Hicks J, Saxton E(2016).
Rising Flags, Falling Soldiers: Film, Icons and Political Violence. Screen (Oxford)
SAXTON EA(2014).
Passion, Agamben and the Gestures of Work. Cinema and Agamben: Ethics, Biopolitics and the Moving Image,
Editors: Gustafsson, H, Gronstadt, A,
Bloomsbury Publishing USA
(New York),
SAXTON EA(2013).
Between God and the Machine: Buñuel's Cine-Miracles. A Companion to Luis Buñuel,
Editors: Stone, R, Gutierrez-Albilla, JD,
Wiley-Blackwell
Bangert A, Gordon RSC, Saxton L(2013).
Holocaust Intersections: Genocide and Visual Culture at the New Millennium.
Editors: Bangert, A, Gordon, RSC, Saxton, L,
Legenda
Saxton EA(2011).
Night and Fog and the Concentrationary Gaze. Concentrationary Cinema: Aesthetics as Political Resistance in Alain Resnais’s ‘Night and Fog’,
Editors: Silverman, M, Pollock, G,
Berghahn
(Oxford and New York),
Saxton L(2011).
The Empire of Trauma: An Inquiry into the Condition of Victimhood. HISTORY OF THE HUMAN SCIENCES
vol. 24,
(2)
159-163.
Saxton EA(2011).
Holocaust Writing and Film. Cambridge History of French Literature,
Editors: Burgwinkle, B, Hammond, N, Wilson, E,
Cambridge University Press
(Cambridge),
Saxton EA(2011).
Terms of Engagement: Algeria, France and the Middle East in Barbet Schroeder’s L’Avocat de la terreur and Philippe Faucon’s Dans la vie. Modern and Contemporary France
vol. 19,
(2)
209-222.
Saxton EA(2010).
Horror By Analogy: Paradigmatic Aesthetics in Nicolas Klotz’s and Elisabeth Perceval’s La Question humaine. Yale French Studies
vol. 118/119,
209-224.
Downing L, SAXTON EA(2010).
Film and Ethics: Foreclosed Encounters. Routledge
(Abingdon, Oxon; New York),
SAXTON E(2008).
Close Encounters with Distant Suffering: Michael Haneke’s Disarming Visions. Authorship from Assayas to Ozon: Five Directors,
Editors: Ince, K,
Manchester University Press
(Manchester),
SAXTON EA(2008).
Haunted Images: Film, Ethics, Testimony and the Holocaust. Wallflower
(London),
SAXTON E(2008).
History, Memory, Fiction in French Cinema. Teaching Holocaust Literature and Film,
Editors: Eaglestone, R, Langford, B,
Palgrave
(Basingstoke),
SAXTON EA(2007).
Fragile Faces: Levinas and Lanzmann. Film-Philosophy
vol. 11,
(2)
1-14.
SAXTON EA(2007).
Secrets and Revelations: Off-Screen Space in Michael Haneke's 'Caché'. Studies in French Cinema
vol. 7,
(1)
5-17.
SAXTON E(2004).
Anamnesis and Bearing Witness. For Ever Godard: The Work of Jean-Luc Godard 1950–2000,
Editors: Temple, M, Williams, JS, Witt, M,
Black Dog
(London),
SAXTON E(2004).
Through the Spy-Hole: Indecent Exposures on Screen. Exposure: Revealing Bodies, Unveiling Representations,
Editors: Banks, K, Harris, J,
Peter Lang
(London and Bern),
SAXTON EA(2003).
Anamnésis: Godard/Lanzmann. Trafic
vol. 47,
48-66.
SAXTON E(2003).
Surrendering Possession? Images and Ethics after Auschwitz. Possessions: Essays in French Literature, Cinema and Theory,
Editors: Horn, J, Russell-Watts, L,
Peter Lang
(London and Bern),
SAXTON E(2003).
The Forbidden Real of French Filmic Testimony. Reading and Writing the Forbidden: Essays in French Studies,
Editors: Roberts, H, Roberts, H, Facques, B,
2001 Group
(Reading),
SAXTON EA, Kemp S(2002).
Seeing Things: Vision, Perception and Interpretation in French Studies.
Editors: Kemp, S, Saxton, EA,
Peter Lang
(London and Bern),
