The Films of Alain Robbe-Grillet (Purdue University Monographs in Romance Languages)
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Alain Robbe-Grillet (1922 –2008) was a French writer and filmmaker. His first involvement with the cinema was in the early 1960’s; scripting one of the most controversial films of the decade, L’Année dernière à Marienbad , directed by Alain Resnais.
In this study the focus lies on the cinema of Robbe-Grillet . Each chapters deals with a specific film and a specific aspect of his work.
thèmes conventionnels et connus. Ces thèmes-classiques-on les retrouve dans les romans populaires et les contes de fées. On peut dire ainsi qu'il s'agit de la quête de l'autre ou d'un prince charmant arrivant au château pour réveiller sa "belle" endormie, d'un envoyé de la Mort qui vient chercher sa victime un an après ou simplement d'une femme qui a eu une aventure et hésite entre son mari et son amant. 8 The basic structure of a void or hole which invades the entire text is also one which is
the detailed working of the text. The rhythmical organisation of the film is, in fact, built around two propositions—a refusal of any consistent separation or hierarchy of levels of reality and a continual shift in the identity of the character propelling the story forward (and hence temporarily occupying an authorial role). An exami nation of these two reveals the true richness of the film. Departures: Sections A and In the opening seventeen shots of the film, Jean is presented as a
Table 7 (Continued) 459-61 as Violette's voice resumes: "La dernière porte une fois franchie... " G. Duchemin mort (shots 462-539) The discovery of the stranger's body, which then disappears. 78 shots 625 ft. H. Le Cinéma (shots 540-609) Violette resumes her story in shot 540, but this time direct to camera. There is a transition from the postcard via a documentary film to Tunisia. The inserted voice-over (shots 548-58) mingles with the commentary of the film at the Eden cinema. There is
seen that Nora was stabbed through the breast with a pair of scissors, it forms a key part of the magistrate's initial questioning (section C). Here, though within the fictional world of the film, it is introduced in shot 117 in a totally unreal way, resting "sur un coussin d'ouate recouvert de soie rouge, comme un objet précieux dans un coffret."14 Questioning Alice about it, the magistrate comments: "Eh bien, ça aurait pu être l'arme d'un crime" (shot 135). But Alice's reply: "Mais non, ce bout
(called the tonic) : all the other triads, major and minor, are arranged around the central one in a hierarchical order.... A tonal work must begin by implying the central position of the tonic and must end with i t . l 1 But in order to create tension between beginning and end, a second focal point is needed: Modulation is the name given to this process: it is the setting up of a second triad as a sort of polarized force or antitonic against the tonic; the second triad functions as a subsidiary