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There may be alternative means for smashing this larger-than-life image as well, non-ideological means that undermine the metaphysical foundations of the established culture, laying bare more and more contradictions of the system. In seeking new possibilities for the novel, Robbe-Grillet has pointed out "the destitution of the old myths of depth," the notion that the artist's task should be to suggest the "hidden realities," the "hidden unities," etc, between ordinary men and objects. The humanist portrays Man's continual striving to extend himself everywhere, to accomplish everything, and to achieve impossible spiritual communions. Failing (naturally...

Author: By Jim Crawford, | Title: Radical Film Duet for Cannibals at the Central Square Theatre | 3/15/1971 | See Source »

Sklar: I think that kind of enapsulating of Beckett is garbage. Beckett's world is comprchensive and everyone I've read, really, except a tiny little article by Alain Robbe-Grillet, everyone tries to take a slice of the pic and say. "this is Beckett." Ruby Kahn interprets Endgame from a religious point of view, somebody clse says it takes place inside a womb, another says it's the beginning. I find myself enraged cach time I see one of these interpretations as a sort of umbrella that it has to go under...

Author: By Charles Bernstein, | Title: The Open Theatre: An Interview | 5/21/1970 | See Source »

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...

Author: /time Magazine | Title: Books: Imminent Victorians | 11/7/1969 | See Source »

...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 »

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 »

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