Resnais

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Resnais

(French rɛnɛ)
n
(Biography) Alain (alɛ̃). 1922–2014, French film director, whose films include Hiroshima mon amour (1959), L'Année dernière à Marienbad (1961), La Vie est un roman (1983), and On Connaît la Chanson (1998)
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Through Alain Resnais, who edited the film, Varda first came into contact with the circle surrounding the Cahiers du Cinema, who would later go on to form the core of the French Nouvelle Vague.
' With the Bauer, Diaz joined the ranks of earlier winners who took cinema into new directions, like Alain Resnais, Andrzej Wajda, and Zhang Yimou.
Hiroshima mon amour, la celebre oeuvre de Marguerite Duras ecrite pour le cinema en 1958 et portee a l'ecran par Alain Resnais en 1959, presente une histoire d'adultere hors-norme dans la mesure oU les deux heros, s'ils tombent violemment amoureux l'un de l'autre lors d'une rencontre de passage, expliquent qu'ils sont heureux avec leur epoux respectif: "Lui: 'Je suis un homme qui est heureux avec sa femme.'--Elle: 'Moi aussi je suis une femme qui est heureuse avec son mari.' Ceci est dit dans une emotion veritable" (OC II 45-46, italiques de l'auteur).
Like Haze and Fog, it showcases Cao's knack for giving inert or inscrutable locales precise ambiences through editing, sound effects, music cues, and, in this case, a narration patterned off the masculin-feminin dialogue of Alain Resnais's Hiroshima mon amour.
Mann harbors a particular fondness for the Left Bank Cinema group of filmmakers that included Alain Resnais, Alain Robbe-Grillet and Chris Marker.
Then, shockingly, without any break or announcement, the screen came alive again and we segued directly into Alain Resnais' 1955 Night and Fog, one of the first documentaries ever made about the Holocaust.
Some artists associated with the Nouvelle Vague have persisted in making films well past the millennium -- Alain Resnais, Agnes Varda and Jean-Luc Godard -- though, as you might expect, their late works bear little resemblance to what they made in the '50s and '60s.
Through the theories of Maurice Merleau-Ponty and Gilles Deleuze, Vaughan compares the films of Jean-Luc Godard, which assess the audio visual illusion of empirical observation or objectivity, with the films of Alain Resnais, in which the sound-image creates inventive depictions of individual experience or subjectivity.
As a magazine equally open to literature, theater, painting, and cinema, unlike Cahiers du cinema and Ecran Francais, Arts seemed the logical place to put forward these ideas about "impure cinema." We can see how the journalist in charge of the double spread of the January 4, 1952 issue of Arts designed his feature around Bazin's admirable text, and how he quoted a passage from "Painting Through a Keyhole"--on the same page as Bazin's piece--in a boxed article about a young new face, Alain Resnais: "Alain Resnais: Van Gogh minus yellow." Here is what Bazin's article says about him: