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see Mariánské Láznĕ Czech Republic.
References in periodicals archive ?
Vaughan says that Resnais's codification of the speech-image relationship is constructed around the recollection of memories in Hiroshima, mon amour and Last Year at Marienbad.
Despite this interest in the interior, the subjects who inhabit Resnais's films necessarily remain unknowable however closely we attend to them: We never hear the man's story in Hiroshima, and this is perhaps what he chooses; we are faced with all that is not recorded, that is unreachable, in the horror of Iv1uriel's torture in Algeria; the lovers in Marienbad never exit the shimmering, repeated play of their masochistic contract (as film historian Keith Reader has shown so well), retaining their uncertainty about what may or may not have happened the previous year.
BUDGET MARIENBAD, Barer Strasse 11 THE Hotel Marienbad is located in the middle of what used to be the government section of Munich in the 1930s and 40s.
Although Deleuze is reluctant to cite a specific film as an exemplary model, good examples of the time-image can be found in Alain Resnais's L'Annee derniere a Marienbad (Last Year at Marienbad), Stanley Kubrick's 2001, and more recently Danny Boyle's 127 Hours and Terrance Malick's Tree of Life.
If sculpted by the hand that crafted works like "Hiroshima Mon Amour" and "Last Year in Marienbad," stories like "Coeurs" can remind cineplex audiences that films need not be formally innovative to depict loneliness and emotional desolation.
From PS420pn BUDGET MARIENBAD In the middle of what used to be the city's government section in the 1930s and 40s, this hotel once served as office space and sleeping quarters for a certain German political party of that vintage.
BUDGET MARIENBAD Barer Strasse 11 This hotel is located in the middle of what used to be the government section of Munich in the 1930s and 40s.
It's as tricky, in its way, as Alain Resnais' 'Last Year at Marienbad.
The following account will demonstrate how Inland Empire's radical nonlinearity derives from a confluence of elements: a critique of Hollywood artifice, manifest in the film's extreme repudiation of continuity editing, and its allusions to Fellini's 8 1/2, Resnais' Last Year at Marienbad, and Bergman's Persona, which place it firmly within the genealogy of European modernism; an ambivalent nostalgia for studio-era performance style, as the homage to Sunset Boulevard and the heightened attention to Stanislavski's rehearsal techniques suggest; and the film's digital production methods, the way those methods lay bare the actor's preparatory techniques, inner upheavals and confusions, enabling that process to shape narrative form as well as content.
Reconsideration of Resnais's Last Year at Marienbad.
And yet suddenly, unaccountably, on this oppressive summerlike night, the grassy hillside has become crowded with people who dance, stroll up and down, and swim in the pool, as if this were a summer resort like Los Teques or Marienbad.
uk/events/film) The Skin I Live In (15): Fri One Day (12A): Fri & Wed Kes (PG): Until Mon Drive 18) Just Do It (12A): Tue, free screening Last Year In Marienbad (12A): Wed & Thur SHOWCASE COVENTRY (www.