{"id":11708,"date":"2014-03-03T11:45:04","date_gmt":"2014-03-03T15:45:04","guid":{"rendered":"https:\/\/pierrejoris.com\/blog\/?p=11708"},"modified":"2014-03-03T11:45:04","modified_gmt":"2014-03-03T15:45:04","slug":"alain-resnais-1922-2014","status":"publish","type":"post","link":"https:\/\/pierrejoris.com\/blog\/alain-resnais-1922-2014\/","title":{"rendered":"Alain Resnais (1922 -2014)"},"content":{"rendered":"<p style=\"text-align: justify;\"><iframe data-src=\"\/\/www.youtube.com\/embed\/cUa3aFWJEnU\" height=\"270\" width=\"480\" allowfullscreen=\"\" frameborder=\"0\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" class=\"lazyload\" data-load-mode=\"1\"><\/iframe><br \/>\n<strong>Resnais<\/strong>: one of the masters, one of the great formalists who knew that form is only an extension of content (& vice-versa). Never repeated himself. Every movie (even if you didn\u2019t like it, or if it wasn\u2019t your favorite Resnais) a completely realized work of art & specific to its needs & processes. And the filmography is vast from shorts to documentaries to \u201cfiction.\u201d Check it out <a href=\"https:\/\/en.wikipedia.org\/wiki\/Alain_Resnais\">here<\/a>.<\/p>\n<p style=\"text-align: justify;\">Coming to his work in the early sixties, for the young European I was, it felt more accurate, searching, valuable, explorative than 99% of the literature coming out of France in those years \u2014 & that doesn\u2019t just apply to the best-known ones, i.e. \u00a0<i><a title=\"Hiroshima mon amour\" href=\"https:\/\/en.wikipedia.org\/wiki\/Hiroshima_mon_amour\">Hiroshima mon amour<\/a><\/i>\u00a0(1959) &\u00a0<i><a title=\"Last Year at Marienbad\" href=\"https:\/\/en.wikipedia.org\/wiki\/Last_Year_at_Marienbad\">Last Year at Marienbad<\/a><\/i>\u00a0(1961) & their connections to the <em>Nouveau Roman<\/em>. Check out, for example, his collaborations with Chris Marker & Agn\u00e8s Varda.<\/p>\n<p style=\"text-align: justify;\">In 1960 he was a co-signer of the\u00a0<a title=\"Manifesto of the 121\" href=\"https:\/\/en.wikipedia.org\/wiki\/Manifesto_of_the_121\">Manifesto of the 121<\/a>, which protested against French colonial policy in Algeria. That war, and the difficulty of coming to terms with its horrors, was a central theme of his next film\u00a0<i><a title=\"Muriel (film)\" href=\"https:\/\/en.wikipedia.org\/wiki\/Muriel_(film)\">Muriel<\/a><\/i>\u00a0(1963), whose fractured narrative explored the mental states of its characters & was among the first French films to comment, even indirectly, on the Algerian experience.<\/p>\n<p style=\"text-align: justify;\">Sat down yesterday afternoon\u00a0& watched\u00a0<i>Nuit et brouillard<\/i>\u00a0(<i><a title=\"Night and Fog (1955 film)\" href=\"https:\/\/en.wikipedia.org\/wiki\/Night_and_Fog_(1955_film)\">Night and Fog<\/a><\/i>) (1955)\u00a0(a good part of it), followed by\u00a0<i><a title=\"Mon oncle d'Am\u00e9rique\" href=\"https:\/\/en.wikipedia.org\/wiki\/Mon_oncle_d%27Am%C3%A9rique\">Mon oncle d\u2019Am\u00e9rique<\/a><\/i>\u00a0(My American Uncle) (1980). Two totally different, two totally stupendous films.<\/p>\n<p style=\"text-align: justify;\">So sad, yet unhappily so normal & expected, that later last night, not one of the Hollywood luminaries as much as mentioned Resnais\u2019s passing during the Oscar ceremonies.<\/p>\n<p><iframe data-src=\"\/\/www.youtube.com\/embed\/gTg_knL4cks\" height=\"360\" width=\"480\" allowfullscreen=\"\" frameborder=\"0\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" class=\"lazyload\" data-load-mode=\"1\"><\/iframe><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Resnais: one of the masters, one of the great formalists who knew that form is only an extension of content (&#038; vice-versa). Never repeated himself. Every movie (even if you didn\u2019t like it, or&#46;&#46;&#46;<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[44,55,76,1],"tags":[134],"class_list":["post-11708","post","type-post","status-publish","format-standard","hentry","category-film","category-intellectuals","category-obituaries","category-uncategorized","tag-alain-resnais"],"_links":{"self":[{"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/posts\/11708","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/comments?post=11708"}],"version-history":[{"count":5,"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/posts\/11708\/revisions"}],"predecessor-version":[{"id":11713,"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/posts\/11708\/revisions\/11713"}],"wp:attachment":[{"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/media?parent=11708"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/categories?post=11708"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pierrejoris.com\/blog\/wp-json\/wp\/v2\/tags?post=11708"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}