{"id":14969,"date":"2014-03-04T01:58:12","date_gmt":"2014-03-04T01:58:12","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=14969"},"modified":"2014-03-04T01:58:12","modified_gmt":"2014-03-04T01:58:12","slug":"toute-la-memoire-du-monde-a-film-by-alain-resnais","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2014\/03\/04\/toute-la-memoire-du-monde-a-film-by-alain-resnais\/","title":{"rendered":"Toute la m\u00e9moire du monde, a film by Alain Resnais"},"content":{"rendered":"<p><a href=\"http:\/\/www.youtube.com\/watch?v=i0RVSZ_yDjs\" target=\"_blank\"><img decoding=\"async\" alt=\"memoir.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2014\/03\/memoir.jpg\" \/><\/a><\/p>\n<p>Before he directed his first feature, <em>Hiroshima Mon Amour<\/em> (1959), Alain Resnais had distinguished himself with a succession of short documentary films. His half-hour history of the Holocaust, <em>Nuit et brouillard<\/em> (1955), has always been the most prominent of these, although as a history it&#8217;s since been superseded by Claude Lanzmann&#8217;s exhaustive <em>Shoah<\/em> (1985). <em>Toute la m\u00e9moire du monde<\/em>, a study of the\u00a0Biblioth\u00e8que Nationale in Paris, was made in 1956, and includes a certain Chris Marker (listed as &#8220;Chris and Magic Marker&#8221;) among its credits. The combination of drifting camera movements, and an interest in architectural space seems like such a precursor of <em>Last Year at Marienbad<\/em> that the film has found a new life as an extra on <em>Marienbad<\/em> DVDs. The Criterion people have very generously made it available in HD <a href=\"http:\/\/www.youtube.com\/watch?v=i0RVSZ_yDjs\" target=\"_blank\">here<\/a>.<\/p>\n<p>Previously on { feuilleton }<br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2014\/03\/03\/marienbad-hauntings\/\">Marienbad hauntings<\/a><br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2012\/07\/19\/terminus-by-john-schlesinger\/\">Terminus by John Schlesinger<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Before he directed his first feature, Hiroshima Mon Amour (1959), Alain Resnais had distinguished himself with a succession of short documentary films. His half-hour history of the Holocaust, Nuit et brouillard (1955), has always been the most prominent of these, although as a history it&#8217;s since been superseded by Claude Lanzmann&#8217;s exhaustive Shoah (1985). Toute &hellip; <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2014\/03\/04\/toute-la-memoire-du-monde-a-film-by-alain-resnais\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;Toute la m\u00e9moire du monde, a film by Alain Resnais&#8221;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[8,42,7],"tags":[2384,88,5847,3880],"class_list":["post-14969","post","type-post","status-publish","format-standard","hentry","category-architecture","category-books","category-film","tag-alain-resnais","tag-chris-marker","tag-claude-lanzmann","tag-john-schlesinger"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-3Tr","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/14969","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=14969"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/14969\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=14969"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=14969"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=14969"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}