Alain Resnais: The Role of ImaginationSecker & Warburg, 1978 - 234 strán (strany) |
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Časté výrazy a frázy
Alain Resnais amour appears audiences become begins Bernard Cayrol character cinema Claud Clive comes complete critics death developed Diego direction director documentary Duras earlier early editing effect existence experience explains fact fiction film filmmaker French friends Giorgio Albertazzi gives Godard going Guerre est finie Harry Dickson Hélène Hiroshima historical imagination important interest Interview It's Jacques Je t'aime Jean later least leaving less lives look March Marienbad material memory montage movie Muriel narrative never October once Paris past period photographs Pierre play political precise present Production Providence published reality relationship Resnais's Ridder Robbe-Grillet Sade scene script Seaver seems Semprun sense September shooting short shot simply Sound Stavisky story structure style t'aime takes tell theory thing wanted writing written York
Populárne pasáže
Strana 12 - Latins call imagination, from the image made in seeing, and apply the same, though improperly, to all the other senses. But the Greeks call it fancy, which signifies appearance, and is as proper to one sense as to another. Imagination, therefore, is nothing but decaying sense; and is found in men and many other living creatures, as well sleeping as waking.
Strana 28 - O temps! suspends ton vol; et vous, heures propices! Suspendez votre cours : Laissez-nous savourer les rapides délices Des plus beaux de nos jours!
Strana 12 - For after the object is removed, or the eye shut, we still retain an image of the thing seen, though more obscure than when we see it. And this is it, the Latins call imagination, from the image made in seeing; and apply the same, though improperly, to all the other senses. But the Greeks call it fancy; which signifies appearance, and is as proper to one sense, as to another.
Strana 64 - I walk on, once again, down these corridors, through these halls, these galleries, in this structure — of another century, this enormous, luxurious, baroque, lugubrious hotel — where corridors succeed endless corridors — silent deserted corridors overloaded with a dim, cold ornamentation of woodwork, stucco, moldings, marble, black mirrors, dark paintings, columns, heaving hangings — sculpted door frames, series of doorways, galleries — transverse corridors that open in turn on empty salons."11...
Strana 52 - It's still the same old story, A fight for love and glory, A case of do or die. The world will always welcome lovers, As time goes by.
Strana 8 - I mean a form in which and by which an artist can express his thoughts, however abstract they may be, or translate his obsessions exactly as he does in the contemporary essay or novel.
Strana 66 - The essential characteristic of the image is its presentness. Whereas literature has a whole gamut of grammatical tenses which makes it possible to narrate events in relation to each other, one might say that on the screen verbs are always in the present tense...
Strana 69 - The whole film, as a matter of fact, is the story of a persuasion: it deals with a reality which the hero creates out of his own vision, out of his own words.
Strana 37 - Thus their initial exchange is allegorical. In short, an operatic exchange. Impossible to talk about Hiroshima. All one can do is talk about the impossibility of talking about Hiroshima.
Strana 8 - After having been successively a fairground attraction, an amusement analogous to boulevard theater, or a means of preserving the images of an era, it is gradually becoming a language.