Word: grillet
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ACOLLABORATION of Alain Resnais and Stan Lee, if it is ever realized, may well be a combination as significant and as perfect as that, eleven years ago, of Resnais and the French author Alain Robbe-Grillet, in the creation of 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...
Wharfing Yarns. Mostly, however, drifting gives Jones the chance to chart the indirections of his own ironic, eccentrically ballasted mind. It is the kind of mind that can easily mingle references to Henry James, Robbe-Grillet and Li-yü with equations on dam overflow, yarns about wharf characters and slices of local history. It is the kind of mind that can see The Story of O and Thomas Merton's Seven Storey Mountain as two monastic classics and, like Mark Twain in Huckleberry Finn, revel in naming objects for their own sake. Jones' notes at the ends...
...eliminate "outmoded consciousness" and clarify "changing social relations" rooted in material conditions? Or do they merely reflect changing intellectual consciousness operating in isolation from social relations altogether? These are important questions for the Cultural Revolution to consider, which I won't try to answer now for Godard and Robbe-Grillet, Instead, I want to talk about Susan Sontag, who unites certain elements of the two, and examine her answers apparent in Duet for Cannibals...
...action too the Bauers destroy the basis of the young couple's relationship, which is the metaphysical conventions of humanist love: "trust," "belief," "basic human goodness," sentimental associations, and other banalities. In trying to understand and participate, the innocents are seduced in over their heads, as Robbe-Grillet explains...
Susan Sontag combines many of the principles of Godard and Robbe-Grillet, and circumvents their problems of alienating the audience with new forms by using old forms subversively in order to destroy our acceptance of them. The film is dialectical in the sense that it starts speaking to us where we are right now, in our present state of outmoded emotional and intellectual consciousness (and not in some futuristic state when we may actually be interested in Robbe-Grillet's descriptions of objects), in order to take us in, to wreck that corrupt humanist tranquillity in which we once thought...