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).
She discusses Sigmund Freud's theory of trauma in Beyond the Pleasure Principle and Moses and Monotheism; the concept of reference and the figure of the falling body in Paul de Man, Heinrich von Kleist, and Immanuel Kant; the narratives of personal catastrophe in Marguerite Duras and Alain
Resnais' Hiroshima mon amour; and Jacques Lacan's rethinking of trauma in his interpretation of Freud's texts.
Historically, this rescue mission happened to Hollywood itself in a wonderfully impactful way, with the American filmmakers of the '60s and 70s invigorated and inspired by the freedom, daring, and sense of purpose they found in their counterparts whose names are now legend: Fellini, Godard, Bunuel,
Resnais, Olmi, Kurosawa, Ray, Bergman, and so many other leading lights of international filmmaking.
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.
Through an analysis of Stiegler's reading of Alain
Resnais's film On connait la chanson (Same Old Song), I will show how the two writers make very different use of Simondon's concept of the preindividual.
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.
Where Film Meets Philosophy: Godard,
Resnais, and Experiments in Cinematic Thinking
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:
PARIS -- Alain
Resnais, the French filmmaker whose cryptic ''Last Year at Marianbad'' extended its influence across generations, has died at 91.
Le realisateur francais Alain
Resnais, qui a presente sa fiction intitulee [beaucoup moins que]Aimer, boire et chanter[beaucoup plus grand que], mettant en scene un groupe d'amis bouleverse par la maladie de l'un d'entre eux qui n'a plus beaucoup de temps a vivre, a recu le Prix Alfred-Bauer remis a un film qui [beaucoup moins que]ouvre de nouvelles perspectives cinematographiques[beaucoup plus grand que], selon le site internet de la 64e Berlinale.