If a filmmaker difficult position, this would be Alain Resnais, an interesting and prolific French director of arthouse farmer (although he refutes this vision of his work), identified in beginning in the nouvelle vague, creator of films are difficult to identify generic but show their marked taste for architecture and music. Proust's lover, had a cult training devouring Breton legends readings and wealth of comics, culture a bit neglected by many people who do not consider them as a manifestation of a great new art. Born in Vannes on June 3, 1922 and initiates his passion for movies since he was 13 years with a small family of 8 mm camera. Also dabbled in theater and has a predilection for the world of painting, as evidenced by the large number of documentaries about painters or achievements chromatic ( Guernica, Max Ernst, Van Gogh, Gauguin ). His vision of art transferred to the special and complex reading of space and time, proposals for how to "translate" in images of these two measures of physical and metaphysical life. So is a director very careful in building their scenarios to show how joyful the journey through the spaces shown in his films. Some of their films available show that interesting actors working in areas in which they (the players) become statues to be part of space that have been "installed". His concern with space and time are over his films with interesting work of reconstruction of the facts and the repetition of scenes and even films that have certain variables, which makes our director has been neglected by the commercial circuit for long, because of their original creations that are far from a thick film for the public. Our director was always very reticent of the displayed image, since it recognized that it only partially represented reality, for that reason, the image recognizing intentional fiction and as such should understand the audience. His approach to the playwrights allowed him to create proposals in which filmic fiction looms large, with deliberately artificial scenarios that show us a scene where the action goes, as we see in the opening scenes of his film Melo . Worked with the architectural concepts of space management, intentionally changing details of a scene for their effects, as happens in his films twins Smoking / No Smoking . Then there is the fact that he worked with artists comic strip for the fictional construction of films like Life is a Novel (La vie est un roman) and want to go home (I want to go home) . We must not forget that it was one of the founders of Comic Strip Club, which later became the Center for the Study of Literature of Graphic Expression. Amiel
As Vincent says, we are faced with building a cinema fragmentation, which makes mounting a cinema. As some artists build sculptures that "intentionally a natural element and then build it with the fragments obtained, but we are not against the initial purpose, but a piece intentionally rebuilt and, as such, it is not real in essence. This treatment is equal in front of a film. Goal is a concept film that must be managed consciously as "calls" our director.
This is a brief sample of this master's filmography, films rigorous and often rejected by commercial channels (not reached our boards commercially) that give us an overview of their work and their concern in search film from architecture, theater and other arts.
MURIEL OU LE TEMPS D'UN RETOUR (MURIEL, OR THE TIME OF RETURN) 1963 Artwork reunions and failures. Characters meet and reconstructed in everyday life, but are people who have been marked by wars like those experienced in Europe last century. This work is also a setting for French society: the war in Algeria. In a way, Muriel is a non-existent character, but that around it unfolds the stories. A film bold enough to a time when French society was in internal conflict in their position with their colonies. Muriel was a character tortured and killed, and became the motive behind the film.
Mon Oncle d'Amerique (MY UNCLE OF AMERICA) 1980 Three lives intersect and different backgrounds will experience emotions and failures. A fourth character, a teacher, makes a thoughtful study of natural behavior, which seems to escape the man. The latter character is explaining the stories through natural figures seen running as allegories of what is happening to them in their relationships. The intricate relationships are connected in an almost random and requires the viewer to take care or thread (s) of history. Faced with the frustrations the mechanism of our body has innate reactions that almost resemble our social relations. And the teacher looks at the behavior of the first three characters as lab rats to validate his hypothesis. It's a film that, despite the brain touch the origins of the behaviors of the characters are making their own lives, their independence.
On connaît la chanson (LIFE IS A SONG) 1997 A experimental film that offers a rapprochement between the film narrative, dialogue and music. It is inspired by the English author Dennis Potter , sharp critic of English society, who uses the popular in his works. Appears to be a musical film, but the melodies complement the text narrative units in development. Therefore not used to songs created for the film, but takes popular tunes speak French or French to round ideas. It appears to insert randomly, but keep the thread of the narrative. The interesting thing is that the film carries a feature of our times: depression. The film may have love affairs the 6 main characters and get to have their songs that "define" their feelings, but, far from being a light comedy of emotions and mistakes, what we see is a set of characters that can be depressed by their longing unsatisfied , their daily frustrations and failures of love.
Bibliography:
RUSSO, EDUARDO; EXPLORER IN THE LABYRINTH, THE FILM Alain Resnais and LIFE IS A SONG, The Great Illusion, No 11, 1992.
Amiel, Vincent, Alain Resnais Guernica À Cœurs, Scope Éditions, 2008
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