ABSTRACT
This chapter continues with the temporality theme developed in Chapter 2. The chapter’s main argument is that an event’s endurance is best understood through a future-perfect (often cited as the future-anterior) verb tense, the “will have been.” That grammar is applied and illustrated with readings of literature and films that rethink and resituate the significance of the Hiroshima event. The most elaborate textual readings are deployed on the Duras-Resnais film Hiroshima Mon Amour (1959) and Linda Hattendorf’s documentary The Cat of Mirikitani (2006).
