‘My Body was Aflame with His Memory’: War, Gender and Colonial Ghosts in Hiroshima mon amour (1959)

This article argues that historicising the iconic 1959 French film Hiroshima mon amour reveals a different set of meanings that most scholars have overlooked. As France found itself embroiled in the brutal and bloody Algerian War of Independence, many started reflecting on the meaning and aftereffects of the Second World War. Despite its anti‐colonial universalist humanism, Hiroshima remains haunted by colonial ghosts and fantasies of post‐war ‘Asia’ where Asian female bodies are passive and Asian male bodies only echo other European male bodies. Ultimately, sexual and racial differences organise the film's narrative of war and canonises a Eurocentric version of ‘history’. The film's melodramatic love story renders invisible the ways gender and sexuality shape understandings of violence, wars, and violated bodies. Against Marguerite Duras's and Alain Resnais's intentions, the love story allows the remembering and forgetting of a (French) national history that only the female character embodies. Only the French woman stands in for subjectivity, memory and trauma, rendering everything else secondary. Once read as a historical text, the film illustrates the limits and ambivalences of post‐war anti‐colonial humanist political imagination.