Word: alain
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Dates: during 1960-1969
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Fowles' technique is to take a ready-made 1860s plot and tell it from a 1960s point of view. It is like a reincarnated Thomas Hardy revising one of his tales from the vantage point of films, Freud, space shots and Alain Robbe-Grillet. On one level, this yields an engaging parody of the Victorian novel-with chatty narrator, digressions, subplots involving cockney servants and narrative juggling. The technique also enables Fowles to compensate for some of the Victorian novel's omissions and evasions, particularly that dark side of the Victorian moon, the bedroom...
...back in the 1920s, a black scholar named Alain Locke remarked that "in the case of the American Negro, the sense of race is stronger than that of nationality." And yet, Locke pointed out, "some of the most characteristic American things are Negro or Negroid, derivatives of the folk life of this darker tenth of the population." Small wonder, then, that the greatest American Negroes feel torn at times...
France today has no apparent successors to Albert Camus and to Jean-Paul Sartre, who was all but ignored by student rebels in 1968. The art capital of the world has long since moved from Paris to New York, and the Parisian stage is languishing. New works from Alain Robbe-Grillet or from Jean-Marie Gustave Le Clézio, France's best-known young novelist, are still occasions of note, but few other novelists are noted abroad. One exception is France's film makers, especially such directors as Francois Truffaut, Alain Resnais and Swiss-born Director Jean...
William Wilson, the second episode, comes as something of a relief; almost anything would. Louis Malle (The Thief of Paris) works some interesting cinematic variations on Poe's classic Doppelganger story, but Alain Delon and Brigitte Bardot seem, to put it gently, out of place. The kinetic opening, with Delon running desperately down the street trying to escape from his own suicide, conjures up a proper air of terror that the rest of the vignette cannot sustain...
Conventional documentary style, largely derived from English and French films of the thirties, exposes contradictions through reconstruction's. In the spring issue of Film Quarterly, Judith Gollub says that what attracted Alain Robbe-Grillet to the cinema was its ability to act on two sense simultaneously in a dialectical movement of statement and negation; in other words, soundtrack and image allow for greater possibilities of contradiction. Conventional documentary reconstructs reality through editing and asynchronous sound (voiceovers, etc.) and techniques borrowed form fictional narrative-music, establishing shots, distant shots, etc. Often, conventional documentaries contain footage shot in direct cinema style; however...