1. TRACKING SOME ANGLES: A TALK WITH ALAIN RESNAIS - Artforum
In the summer of 1980, Resnais and I spent at least two hours a day for two months drinking coffee and talking casually in an apartment in Paris.
WE WERE INTENDING TO MEET for days, but Alain Resnais was caught up in the final postproduction touches on his most recent film, L’Amour à Mort. This would have been…
2. Alain Resnais and MÉLO | Jonathan Rosenbaum
Jan 7, 2024 · This is a masterpiece that uses as its point of departure the most hackneyed and familiar of melodramatic plots — the adulterous triangle and ...
From the Chicago Reader (April 15, 1988).Reprinted in my first collection, Placing Movies: The Practice of Film Criticism (1995). — J.R.
3. Alain Resnais and the communication of love in - Manchester Hive
May 23, 2023 · This chapter focuses on Resnais's Last Year in Marienbad (1961) by raising the possibility that this film can be considered a remarriage ...
This chapter focuses on Resnais’s Last Year in Marienbad (1961) by raising the possibility that this film can be considered a remarriage comedy. From this perspective, the woman (A) leaves her husband (M) at the end of the film in order to flee from the château with the man she met last year at Marienbad (X). The chapter offers a very close reading of the film. While this reading of the film could not be called definitive in any way, the chapter proposes it as a possible and convincing reading of the film. Besides being guided by Stanley Cavell’s notions of remarriage comedy, the chapter also discusses Marienbad in the light of Henrik Ibsen’s play, Rosmersholm, a key reference for the film. The chapter is also guided by Toril Moi’s Cavellian interpretation of Ibsen (in her book Henrik Ibsen and the Birth of Modernism).
4. Alain Resnais - Page 2 - criterionforum.org
May 12, 2019 · I am currently on a Resnais binge and I have not seen Stavisky and Providence in a long time. Does anyone know where I can get an English ...
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5. In Memory of Alain Resnais | The New Yorker
Mar 2, 2014 · Resnais, who was born in 1922, spent wartime in occupied Paris, where he took acting classes and tried to launch a career, amid primordial efforts at ...
While sitting at my desk and reading upsetting news, from Crimea to the death of Alain Resnais, I looked up from the computer screen and my glance was caught by the spine of a book: “The Politics of Memory,” by the historian Raul Hilberg. Resnais, who was born in 1922, spent wartime in occupied Paris, where he took acting classes and tried to launch a career, amid primordial efforts at filmmaking. (He also clandestinely ferried food to a Jewish journalist friend in hiding, Frédéric de Towarnicki, who later worked with Resnais as a screenwriter.) Resnais started making films after the war, a time when memory itself was, in France, an equivocal virtue—and he made memory his subject. And, from his quest to realize memory in cinema, he made one of the most original figures of style in the history of the medium.
6. Alain Resnais - Journal - Metrograph
Resnais talks about the making of and motivations behind his time-travel film Je t'aime Je t'aime, which he insists is not science fiction, in an interview ...
Interview By Philippe Labro Resnais talks about the making of and motivations behind his time-travel film Je t’aime Je t’aime, which he insists is not science fiction, in an interview from 1968. HOW LONG WAS THE SHOOT? Nine weeks. LET’S FIRST TALK A LITTLE BIT ABOUT THE HERO, CLAUDE RICH/RIDDER. IN A CERTAIN MANNER, COULD WE…
7. The Inconsolable, Insoluble Memory of Alain Resnais (June 3, 1922
Mar 26, 2014 · A guest post by Carol Mavor, author of Black and Blue: The Bruising Passion of Camera Lucida, La Jetée, Sans soleil and Hiroshima mon amour ...
A guest post by Carol Mavor, author of Black and Blue: The Bruising Passion of Camera Lucida, La Jetée, Sans soleil and Hiroshima mon amour (2012). Alain Resnais has died, has vanished …
8. Remembering Alain Resnais and His Complex Relationship With Jews
Mar 4, 2014 · The French film director Alain Resnais, who died on March 1 at age 91, had a complex relationship with Jews.
The French film director Alain Resnais, who died on March 1 at age 91, had a complex relationship with Jews. For many years, his 1955 film “Night and Fog” was shown in classrooms as an approach to understanding the horrors of Nazi concentration camps. Yet Resnais’s aims were both more and less than this purpose,...
9. Alain Resnais and the cinema of memory - Bat, Bean, Beam
Nov 3, 2014 · I first saw Alain Resnais' Hiroshima, Mon Amour in my late teens, in an art-house theatre of my home town. I don't remember which one, ...
A weblog on memory, technology and politics
10. In Time: The Films of Alain Resnais - BAMPFA
Saturday, November 14 8:45 pm. Alain Resnais (France, 1963). Delphine Seyrig stars as a widow haunted by a former love, as her son is haunted by memories of the ...
“The image is always in the present tense.”-Alain Robbe-Grillet, author, Last Year at Marienbad The contemporaneity of memory is a theme that haunts, as it informs, every Alain Resnais film. This great modernist director's obsession with time and how the past lives in the present can be traced in the hauntingly beautiful montages, searching camera, and musical language of films like Last Year at Marienbad, Muriel, and Je t'aime, je t'aime, all collaborations with major writers. Resnais has always played with cinema, and so transformed it. What was Marienbad but a giant gameboard?
