Word: marienbad
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...same way. Director Richard Lester, who got his start on TV, believes that television's abrupt leap from news about Viet Nam to Corner Pyle to toothpaste ads expands people's vision. "TV is best at those sudden shifts of reality. TV, not Last Year at Marienbad, made the audience notice them for the first time...
...radial reorganization of experience in which the elements of a story occur in no necessary order and the sense of succession subsides in the illusion of a permanent present. Fantasy heightens reality. Cause and effect are denied, and in the more extreme experiments such as in Last Year at Marienbad, a fundamental reorientation in time and space takes shape. Even as it strives to entertain, the new cinema is part of the broad cultural movement of an age that is searching for a contemporary redefinition of man's place in the universe...
...Robbe-Grillet feels that nothing is so fatal to literature as a concern with "saying something." In his earlier and even more maddening works (The Voyeur, Jealousy), he regarded his characters as objects, and he has extended his experiments in the baffling abstract film scenarios for Last Year at Marienbad and L'Immortelle. "The world is neither significant nor absurd," says...
Alain Resnais's "La Guerre Est Finie" is a sombre and intellectual story of left-wing Spanish revolutionaries centered in Paris. Resnais has abandoned the strongly contrasting black-and-white tones of "Hiroshima Mon Amour" and "Last Year At Marienbad" in favor of low-contrast greys which deliberately reduce the effect of the plot's melodramatic content. Although the visual construction is simpler than that of "Marienbad" and "Muriel," Resnais does insert short scenes which represent the imagination of the hero, a tired revolutionary played brilliantly by Yves Montand...
Last Yar at Marienbad, made in 1961, corrected many of the technical faults of Hiroshima and allowed Resnais to push further into the realm of abstraction. By 1963, when he made Muriel, Resnais was in unquestionable control of his medium, rendering the slightest impressions subject to his intent. At this juncture, Resnais seems far closer to the Italian director Michaelangelo Antonioni than to his New Wave counterparts; but then, anything is permissible in the New Wave...