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May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less 1.01

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Bizarrely captivating and equally ambiguous drama juxtaposes time and memory, fantasy and reality, and the past and present, with Giorgio Albertazzi as a man who relentlessly tries to convince a woman (Delphine Seyrig), a guest at a posh chateau, that they met a year earlier and had planned to meet again. Alain Resnais and novelist Alain Robbe-Grillet's collaboration co-stars Sacha Pitoff. 94 min. Widescreen; Soundtrack: French; Subtitles: English; audio commentary; bonus short "Toute la Memoi

The 1961 film Last Year in Marienbad broke with traditional structures of time, location, and causality like no other film before it. The director, Alain Resnais, played with an artistic language in which the style itself became the content. In doing so, he defined an appreciation of art that has extended into the present day: Nouvelle Vague. The catalogue examines the influence of the film on the fine arts, on Pop culture and fashion, garnering international approaches from the beginning of the twentieth century through to the present.

Awarded the 2012 Salo Wittmayer Baron Prize by the American Academy for Jewish ResearchFrom the last decades of the nineteenth century through the late 1930s, the West Bohemian spa towns of Carlsbad, Franzensbad, and Marienbad were fashionable destinations for visitors wishing to "take a cure"—to drink the waters, bathe in the mud, be treated by the latest X-ray, light, or gas therapies, or simply enjoy the respite afforded by elegant parks and comfortable lodgings. These were sociable and urbane places, settings for celebrity sightings, match-making, and stylish promenading. Originally the haunt of aristocrats, the spa towns came to be the favored summer resorts for the emerging bourgeoisie. Among the many who traveled there, a very high proportion were Jewish.In Next Year in Marienbad, Mirjam Zadoff writes the social and cultural history of Carlsbad, Franzensbad, and Marienbad as Jewish spaces. Secular and religious Jews from diverse national, cultural, and social backgrounds mingled in idyllic and often apolitical-seeming surroundings. During the season, shops sold Yiddish and Hebrew newspapers, kosher kitchens were opened, and theatrical presentations, concerts, and public readings catered to the Jewish clientele. Yet these same resorts were situated in a region of growing hostile nationalisms, and they were towns that might turn virulently anti-Semitic in the off season.Next Year in Marienbad draws from memoirs and letters, newspapers and maps, novels and postcards to create a compelling and engaging portrait of Jewish presence and cultural production in the years between the fin de siècle and the Second World War.

1977 reprint hardcover in dust jacket, with no marks or writing to book. Spine sunned; top edge a little dusty; otherwise Fine condition.

Awarded the 2012 Salo Wittmayer Baron Prize by the American Academy for Jewish ResearchFrom the last decades of the nineteenth century through the late 1930s, the West Bohemian spa towns of Carlsbad, Franzensbad, and Marienbad were fashionable destinations for visitors wishing to "take a cure"—to drink the waters, bathe in the mud, be treated by the latest X-ray, light, or gas therapies, or simply enjoy the respite afforded by elegant parks and comfortable lodgings. These were sociable and urbane places, settings for celebrity sightings, match-making, and stylish promenading. Originally the haunt of aristocrats, the spa towns came to be the favored summer resorts for the emerging bourgeoisie. Among the many who traveled there, a very high proportion were Jewish.In Next Year in Marienbad, Mirjam Zadoff writes the social and cultural history of Carlsbad, Franzensbad, and Marienbad as Jewish spaces. Secular and religious Jews from diverse national, cultural, and social backgrounds mingled in idyllic and often apolitical-seeming surroundings. During the season, shops sold Yiddish and Hebrew newspapers, kosher kitchens were opened, and theatrical presentations, concerts, and public readings catered to the Jewish clientele. Yet these same resorts were situated in a region of growing hostile nationalisms, and they were towns that might turn virulently anti-Semitic in the off season.Next Year in Marienbad draws from memoirs and letters, newspapers and maps, novels and postcards to create a compelling and engaging portrait of Jewish presence and cultural production in the years between the fin de siècle and the Second World War.

text by Alain Robbe-Grillet --- for the film by Alain Resnais with over 140 illustrations

Je t'aime Je t'aime is a haunting tale of romantic obsession and time travel, a traumatic break-up caught in an endless loop. It is science fiction as only Alain Resnais (Last Year at Marienbad) could have made. Claude Ridder (Claude Rich) is recovering from a failed suicide attempt after the collapse of his relationship with Catrine (Olga Georges-Picot). He is approached by an obscure scientific lab, who wants him to participate in the human trials of a new time travel device. The test will sen

Alain Resnais's Muriel, or The Time of Return, the director's follow-up to Last Year at Marienbad, is as radical a reflection on the nature of time and memory as it's predecessor. The always luminous Delphine Seyrig (Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles) stars as an antique shop owner and widow in Boulogne-sur-Mer, whose past comes back to haunt her when a former lover reenters her life. Meanwhile, her stepson is tormented by his own ghosts, related to his service in France's rec

Life of Riley (Aimer, boire et chanter) is the joyous, life-affirming final film by French New Wave legend Alain Resnais (Last Year at Marienbad). Resnais' third adaptation of an Alan Ayckbourn play (after Smoking/No Smoking and Private Fears in Public Places), Life of Riley circles around the absent George Riley, who has been diagnosed with terminal cancer. Three couples react to the news with various degrees of emotion. The women are each separately invited to a seaside resort by Riley, and hi

Je t'aime Je t'aime is a haunting tale of romantic obsession and time travel, a traumatic break-up caught in an endless loop. It is science fiction as only Alain Resnais (Last Year at Marienbad) could have made. Claude Ridder (Claude Rich) is recovering from a failed suicide attempt after the collapse of his relationship with Catrine (Olga Georges-Picot). He is approached by an obscure scientific lab, who wants him to participate in the human trials of a new time travel device. The test will sen

The Grand Spas of Central Europe leads readers on an irresistible tour through the grand spa towns of Central Europe—fabled places like Baden-Baden, Bad Ems, Bad Gastein, Karlsbad, and Marienbad. Noted historian David Clay Large follows the grand spa story from Greco-Roman antiquity to the present, focusing especially on the years between the French Revolution and World War II, a period in which the major Central European Kurorte (“cure-towns”) reached their peak of influence and then slipped into decline. Written with verve and affection, the book explores the grand spa towns, which in their prime were an equivalent of today’s major medical centers, rehab retreats, golf resorts, conference complexes, fashion shows, music festivals, and sexual hideaways—all rolled into one. Conventional medicine being quite primitive through most of this era, people went to the spas in hopes of curing everything from cancer to gout. But often as not “curists” also went to play, to be entertained, and to socialize. In their heyday the grand spas were hotbeds of cultural creativity, true meccas of the arts. High-level politics was another grand spa specialty, with statesmen descending on the Kurorte to negotiate treaties, craft alliances, and plan wars.This military scheming was just one aspect of a darker side to the grand spa story, one rife with nationalistic rivalries, ethnic hatred, and racial prejudice. The grand spas, it turns out, were microcosms of changing sociopolitical realities—not at all the “timeless” oases of harmony they often claimed to be. The Grand Spas of Central Europe holds up a gilt-framed but clear-eyed mirror to the ever-changing face of European society—dimples, warts, and all.

A cornerstone of the French New Wave, the first feature from Alain Resnais (Last Year at Marienbad) is one of the most influential films of all time. A French actress (Amour's Emmanuelle Riva) and a Japanese architect (Woman in the Dunes' Eiji Okada) engage in a brief, intense affair in postwar Hiroshima, their consuming mutual fascination impelling them to exorcise their own scarred memories of love and suffering. With an innovative flashback structure and an Academy Award-nominated screenplay

A cornerstone of the French New Wave, the first feature from Alain Resnais (Last Year at Marienbad) is one of the most influential films of all time. A French actress (Amour's Emmanuelle Riva) and a Japanese architect (Woman in the Dunes' Eiji Okada) engage in a brief, intense affair in postwar Hiroshima, their consuming mutual fascination impelling them to exorcise their own scarred memories of love and suffering. With an innovative flashback structure and an Academy Award-nominated screenplay

Alain Resnais's Muriel, or The Time of Return, the director's follow-up to Last Year at Marienbad, is as radical a reflection on the nature of time and memory as it's predecessor. The always luminous Delphine Seyrig (Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles) stars as an antique shop owner and widow in Boulogne-sur-Mer, whose past comes back to haunt her when a former lover reenters her life. Meanwhile, her stepson is tormented by his own ghosts, related to his service in France's rec