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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...

Author: /time Magazine | Title: World: THE FRENCH FACE MEDIOCRITY | 9/26/1969 | See Source »

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...

Author: /time Magazine | Title: New Movies: Two Dead Spirits Out of Three | 9/12/1969 | See Source »

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...

Author: By Joel Haycock, ENDS TODAY AT THE KENMORE SQUARE | Title: The Moviegoer | 7/29/1969 | See Source »

According to Alain de Gaulle, nephew of France's retired President, le grand Charles did not stand so tall at home. In fact, writes Alain in an article sold to British, French and American publications, he could be defined as "henpecked." Alain relates that Tante Yvonne cured her husband's fondness for Scotch whisky by adding coffee to his glass, kept the household account book and slipped a hair between the pages so she would know if the President tried to peek. She thriftily bought the presidential shirts, socks and underwear at the Bon Marché, a sort...

Author: /time Magazine | Title: People: Jul. 11, 1969 | 7/11/1969 | See Source »

...attracted more by the movie's unofficial title: "The New Fellini." Such Italian directors as Michelangelo Antonioni, Luchino Visconti and Vittorio De Sica are also, in effect, the titles of their films, as are Swedish Director Ingmar Bergman and celebrated French Film Makers François Truffaut and Alain Resnais (La Guerre Est Finie...

Author: /time Magazine | Title: Cinema: The Film Maker as Ascendant Star | 7/4/1969 | See Source »

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