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Heavy scuffing and wear to cover, mostly at edge. Some mild age toning at edges, and inside cover. Otherwise, clean interior with sound binding. B/W photos throughout. 167 pgs. 1st US Edition. The Cinema World Series. Doubleday and Co., Inc. NJ. 1968.

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

Published by Oxford University Press and Secker & Warburg in 1979, this study of the modern master filmmaker was based on numerous interviews. The book includes previously unpublished photographs by Resnais himself and more than 100 frame enlargements from the films. This is a Collector's item: first edition, first printing, signed by the author. The author of How To Read a Film and The New Wave, here turns to the remarkable work of Alain Resnais, whose films include Last Year at Marienbad, Muriel, and Hiroshima, mon amour. Monaco examines how Resnais's relationships with novelists Alain Robbe-Grillet and Marguerite Duras influenced his fascination with narrative technique, and explains how different a picture of Resnais's work we would have if some of his unrealized projects--collaborations with Richard Seaver and Stan Lee--had come to fruition. Most important, Monaco brings us closer to Resnais himself through numerous interviews and wide-ranging discussions with the director.

“How almost true they sometimes almost ring!” Samuel Beckett’s character rues his words. “How wanting in inanity!” A person could almost understand them! Why taunt and flout us, as Beckett’s writing does? Why discourage us from seeing, as Mark Rothko’s paintings often can? Why immobilize and daze us, as Alain Resnais’s films sometimes will? Why, Leo Bersani and Ulysse Dutoit ask, would three acknowledged masters of their media make work deliberately opaque and inhospitable to an audience? This book shows us how such crippling moves may signal a profoundly original―and profoundly anti-modernist―renunciation of art’s authority.Our culture, while paying little attention to art, puts great faith in its edifying and enlightening value. Yet Beckett’s threadbare plays Company and Worstward Ho, so insistent on their poverty of meaning; Rothko’s nearly monochromatic paintings in the Houston Chapel; Resnais’s intensely self-contained, self-referential films Night and Fog and Muriel all seem to say, “I have little to show you, little to tell you, nothing to teach you.” Bersani and Dutoit consider these works as acts of resistance; by inhibiting our movement toward them, they purposely frustrate our faith in art as a way of appropriating and ultimately mastering reality.As this book demonstrates, these artists train us in new modes of mobility, which differ from the moves of an appropriating consciousness. As a form of cultural resistance, a rejection of a view of reality―both objects and human subjects―as simply there for the taking, this training may even give birth to a new kind of political power, one paradoxically consistent with the renunciation of authority. In its movement among these three artists, Arts of Impoverishment traces a new form of movement within art.

Unread book in perfect condition.

Hunter Vaughan interweaves phenomenology and semiotics to analyze cinema's ability to challenge conventional modes of thought. Merging Maurice Merleau-Ponty's phenomenology of perception with Gilles Deleuze's image-philosophy, Vaughan applies a rich theoretical framework to a comparative analysis of Jean-Luc Godard's films, which critique the audio-visual illusion of empirical observation (objectivity), and the cinema of Alain Resnais, in which the sound-image generates innovative portrayals of individual experience (subjectivity). Both filmmakers radically upend conventional film practices and challenge philosophical traditions to alter our understanding of the self, the world, and the relationship between the two. Films discussed in detail include Godard's Vivre sa vie (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). Situating the formative works of these filmmakers within a broader philosophical context, Vaughan pioneers a phenomenological film semiotics linking two disparate methodologies to the mirrored achievements of two seemingly irreconcilable artists.

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Occasion - Bon Etat - Jauni - Providence : Un film pour Alain Resnais (1977) - Grand Format

George Delerue highlights the career of a quintessential Frenchman whose music shaped many of the most striking films of the French New Wave, Resnais's Hiroshima Mon Amour to Truffaut's Jules and Jim among them.

Ten years after the liberation of the Nazi concentration camps, filmmaker Alain Resnais (Hiroshima mon amour) documented the abandoned grounds of Auschwitz and Majdanek in Night and Fog (Nuit et brouillard), one of the first cinematic reflections on the Holocaust. Juxtaposing the stillness of the abandoned camps empty buildings with haunting wartime footage, Resnais investigates the cyclical nature of humanity's violence against humanity, and presents the devastating suggestion that such horrors

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

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

Inspired by Alain Resnais's Hiroshima mon amour, and sharing the spirit of Tomas Transtromer's Baltics and Yehuda Amichai's Time, Republic Café is a meditation on love during a time of violence, and a tally of what appears and disappears in every moment. Mindful of epigenetic experience as our bodies become living vessels for history's tragedies, David Biespiel praises not only the essentialness of our human memory, but also the sanctity of our flawed, human forgetting.A single sequence, arranged in fifty-four numbered sections, Republic Café details the experience of lovers in Portland, Oregon, on the eve and days following September 11, 2001. To touch a loved one's bare skin, even in the midst of great tragedy, is simultaneously an act of remembering and forgetting. This is a tale of love and darkness, a magical portrait of the writer as a moral and imaginative participant in the political life of his nation.

Une édition établie par les soins de Jean-Louis Leutrat et Suzanne Liandrat-GuiguesUn des premiers projets d'Alain Resnais fut d'adapter un éblouissement de jeunesse, les célèbres aventures du détective Harry Dickson écrites par Jean Ray. Comme à son habitude, le cinéaste fit appel à un écrivain pour rédiger le scénario : Frédéric de Towarnicki, poète, journaliste et philosophe, auteur de plusieurs livres sur Martin Heidegger. Après plusieurs années de travail, les deux hommes durent renoncer à la fin des années 60. Ce projet a ainsi acquis un statut mythique, aussi bien auprès des cinéphiles que des lecteurs de RayGrâce à Suzanne Liandrat-Guigues et Jean-Louis Leutrat, tous deux spécialistes de l'oeuvre, le scénario des Aventures de Harry Dickson – cinq actes d'une stupéfiante beauté – est aujourd'hui enfin accessible.Attendue depuis longtemps, sa publication est accompagnée d'un appareil critique et de nombreuses illustrations rares : seize photographies sur les traces de Dickson, extraites de l'ouvrage épuisé Repérages ; huit reproductions des couvertures originales qui fascinèrent le jeune Resnais ; un dessin inédit de Topor pour les Songs du film ; une oeuvre de l'artiste Jean Le Gac.Ce livre au générique de rêve – Resnais, Ray, Towarnicki, mais aussi Vanessa Redgrave, Dirk Bogarde, Rheina, Minerve, La Gorgone... – constitue un document unique sur le travail d'un cinéaste secret et inclassable.La sortie des Aventures de Harry Dickson coïncidera avec la tenue d'une importante série d'événements autour d'Alain Resnais de janvier à mars 2008, au Centre Pompidou à Paris, au festival Premiers Plans à Angers et à la Cinémathèque de Toulouse.

Love Unto Death: Resnais' meditation on the power of love and death. Simon and Elisabeth are deeply in love, but the sudden death and miraculous revival of Simon throws their entire life into turmoil. Life Is A Bed Of Roses: In this lighthearted celebration of the power of imagination, Alain Resnais pays tribute to three influential French filmmakers Georges Melies, Marcel L Herbier and Eric Rohmer.

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

Inspired amongst others by the idea of French filmmaker ALAIN RESNAIS for his two mpovies 'Smoking no smoking'both released on the very same day, Marc Berthoumieux released his two new CD simultaneously...

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

Initiated and edited by Chris Marker, FAR FROM VIETNAM is an epic 1967 collaboration between cinema greats Jean-Luc Godard, Joris Ivens, William Klein, Claude Lelouch and Alain Resnais in protest of American military involvement in Vietnam-made, per Marker's narration, "to affirm, by the exercise of their craft, their solidarity with the Vietnamese people in struggle against aggression".

The appearance of Alain Resnais' 1955 French documentary Night and Fog heralded the beginning of a new form of cinema, one that used the narrative techniques of modernism to provoke a new historical consciousness. Afterimage presents a theory of posttraumatic film based on the encounter between cinema and the Holocaust. Locating its origin in the vivid shock of wartime footage, the study focuses on a group of crucial documentary and fiction films that were pivotal to the spread of this cinematic form across different nations and genres. verite, culminating in Shoah. He then turns to the appearance of a fictional posttraumatic cinema, tracing its development through the vivid flashbacks in Resnais' Hiroshima, Mon Amour, to the portrayal of pain and memory in The Pawnbroker. He excavates a posttraumatic autobiography in three early films by Hungarian Istvan Szabo. Finally, he examines the effects of postmodernism on posttraumatic cinema, looking at Schindler's List and a work about a different form of historical trauma, History and Memory, a videotape dealing with the internment of Japanese Americans during World War II.