Resnais


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Resnais

Alain . born 1922, French film director, whose films include Hiroshima mon amour (1959), L'Ann?e derni?re ? Marienbad (1961), La Vie est un roman (1983), and On Conna?t la Chanson (1998)
Collins Discovery Encyclopedia, 1st edition © HarperCollins Publishers 2005
References in periodicals archive ?
Christophe Carlier, dans son ouvrage intitule Marguerite Duras, Alain Resnais: Hiroshima mon amour, expose ainsi les deux griefs regulierement avances contre "Elle," a l'epoque de la sortie du film:
One might look for example at Stiegler's discussion of the Alain Resnais film On connait la chanson [Same Old Song] (1997) in the first volume of De la misere symbolique (On symbolic misery).
In Where Film Meets Philosophy: Godard, Resnais, and Experiments in Cinematic Thinking, Hunter Vaughan blends phenomenology and semiotics to explore cinema's ability to confront conventional modes of thought.
Were we really aware of what Van Gogh minus yellow looked like before Resnais came along?
Resnais was editing drafts of his next project even from his hospital bed, according to producer Jean- Louis Livi, who was working on the film with him.
This year, the Panorama will show Alain Resnais' first feature Hiroshima Mon Amour from 1959.
Another student mixed his metaphors to describe Alain Resnais' controversial Holocaust docu 'Night And Fog' as 'a hotly contested potato.'
Another student at a different institution mixed up his metaphors to describe Alain Resnais' controversial Holocaust documentary Night And Fog as "a hotly contested potato".
These contentious notions of late style can be useful when confronted with an oeuvre as long-lived and wide-ranging as that of Alain Resnais, nowadays the subject of the retrospective "La memoire et l'imaginaire."
Resnais. Two bodies seem to be embracing, but in a derealized fashion:
The next nine chapters are divided into three on the movement-image (in Griffith, Eisenstein, Gance, and Lang, Ford and Kazan, and Hawks and Hitchcock), three on the time-image (in Italian neorealism, Ophuls and Fellini, and Welles and Resnais), and chapters on "Thought and Cinema" and recent iterations of the movement-image and the time-image.
However, it's still an interesting and occasionally touching movie, beautifully directed by the veteran Alain Resnais.