The fact that Marienbad
is mentioned has been taken as proof that Alain Resnais's Last Year at Marienbad
 is actually based on this Argentinian fantasy, and that one must understand that the protagonists in Resnais's classic are actually holographs inhabiting a virtual maze, otherwise the film's plot remains incomprehensible.
Tour of Prague; walking tour of Weimar; visits to Ehrenburg and Rosenau Castles in Coburg; visit to Eisenach, Gotha and Erfurt; visits to Dresden and Marienbad
Pienso tambien en su intencion de abrazar a Rimbaud durante el instante de un sollozo, como se lo propone en Marienbad
electrico (2015), su breve y contundente poetica a modo de relato.
This is certainly the case for Kafka's ethnographic journeys to the Jews, which took him to Prague and Marienbad
, but no further.
These activities did not interfere, however, with my participation in group games with boys of my age and older, particularly during the lengthy summer vacations, when my parents took the family to spas, predominantly to Czechoslovakia's Marienbad
, or to Germany's Baltic and North Sea beaches, where I swam, exercised, and played.
And what better locale examine them than a spa resort--a setting that calls to mind Thomas Mann, Anton Chekhov, "Last Year at Marienbad
" and "814," among many others.
In this production, the look is formal and high-gloss, with everyone wearing summer whites and looking like extras from a vintage art film like "Last Year at Marienbad
'' reset in an English country house.
Among the commendable aspects of Rosa Garcia Andujar's costume design is the shift in Felice's appearance from the conservative dark blue jacket and long skirt she wears in the opening scenes--the equivalent of a power suit from a century ago--to a feminine, summery, light gray dress she dons after a ten-day tryst at a hotel in Marienbad
But there are many other treatments discussed in this fascinating book, which has some fine interior shots of the various spas in Hungary, Marienbad
(which spawned a film in the 1960s) Carlsbad and many in the Czech Republic.
Using Godard's Vivre sa cie (1962), Contempt (1963), and 2 or 3 Things I Know About Her (1967) and Resnais's Hiroshima, mon amour (1959), Last Year at Marienbad
(1961), and The War is Over (1966), Vaughan proposes a phenomenological film semiotics which connects two dissimilar methodologies to the parallel achievements of two seemingly incompatible artists.
Put another way, the presumably sexually curious spectator of legendary sex-hygiene film Mom and Dad (William Beaudine, 1945) may not, finally, have been so different from the presumably philosophically curious spectator of Alain Resnais' L'annee derniere a Marienbad
(Last Year at Marienbad
205-206); que en el momento de su despedida, Vera le conto como Agata, el dia de su partida de la estacion Wilson, le habia dicho: "el ano pasado fuimos de aqui a Marienbad
. (4) Y, ahora, ?donde iremos?"; y que, en el verano de 1938, habian ido todos juntos a Marienbad