Word: amours
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Dates: during 1970-1979
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...play, it seems, matters more than winning--or persuading. Though films such as Hiroshima Mon Amour and Night and Fog have explicitly political backgrounds. Resnais denies that he has ever intentionally made a political film: "I just let things happen . . . . If the script is political, then all the better. But I have never tried to convert anyone...
...Last Year at Marienbad. Filmmaking, of course, has always made strange bedfellows: as different as the American father of Spiderman is from the French creator of the "nouveau roman", and as different as both of these are from the novelist Marguerite Duras, who wrote the script for Hiroshima Mon Amour. Resnais has affinities with all three...
THROUGH FILM, however, Resnais can create experiences unattainable by his literary forbears. As in Marienbad, he can stop human time, by freezing motion, while, through the exploring action of the camera, he can make inanimate objects come alive. In both Marienbad and Hiroshima Mon Amour, there is a peculiar juxtaposition of an ongoing text with the filmed image. The text is the dialogue of a man and woman. Simultaneously with this text, instead of the objective reality of their faces, we see the images in their minds--a cellar in Nevers, maimed victims of Hiroshima, or the gardens of Marienbad...
...technical innovation, Resnais is candid about his debt to earlier directors: "You have to realize that you can't make something totally new. I never thought I made a big break from other directors." He sees his own work in specific context. The two intersecting times of Hiroshima Mon Amour, admits Resnais, owe much to Griffith's Intolerance...
...meeting of the film societies yesterday, Elien P. Wiese announced that Alain Resnais--French film director whose films include "Last Year at Marienbad" and "Hiroshima Mon Amour"--will speak at Harvard March 29. Dunster House, Mather House, and the Carpenter Center are sponsoring the visit...