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Among the most innovative and influential filmmakers of the twentieth century, Alain Resnais (1922-2014) did not originally set out to become a director. He trained as an actor and film editor and, during the sixty-eight years of his working life, delved into virtually every corner of filmmaking, working at one time or another as screenwriter, assistant director, camera operator and cinematographer, special effects coordinator, technical consultant, and even author of source material. From such award-winning documentaries as Van Gogh and Night and Fog to the groundbreaking dramas Hiroshima mon amour, Last Year at Marienbad, and Muriel, Resnais's films experiment with such themes as consciousness, memory, and the imagination. Distinguishing himself from associations with the French New Wave movement, Resnais considered his films to be "anti-illusionist," never allowing his spectators to forget they were watching a work of art. In Alain Resnais: Interviews, editor Lynn A. Higgins collects twenty-one interviews with the filmmaker, twelve of which are translated into English for the first time. Spanning his entire career from his early short subjects to his final feature film, the volume highlights Resnais's creative strategies and principles, illuminates his place in world cinema history, and situates his work relative to the New Wave, American film, and experimental filmmaking more broadly. Like his films, the interviews collected here reveal a creator who is at once an intellectual, a philosopher, an entertainer, a craftsman, and an artist.
About the author
Lynn A. Higgins is Edward Tuck Professor Emerita of French at Dartmouth College, where she is also affiliated with the Department of Comparative Literature and the Department of Film Studies. She is author of books on the French New Wave and the New Novel and a monograph on Bertrand Tavernier. She is coeditor of
Bertrand Tavernier: Interviews, published by University Press of Mississippi.
Summary
Collects twenty-one interviews with filmmaker Alain Resnais. Spanning his entire career from his early short subjects to his final feature film, the volume highlights Resnais's creative strategies and principles, illuminates his place in world cinema history, and situates his work relative to the New Wave and American film.
