George Harrison : Anthologie, 1943-2001 PDF

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Ecrit par le grand spécialiste français du groupe, président du Club des Quatre de Liverpool depuis 1973, ce livre très documenté rend hommage à cette immense figure de la pop music.

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Vous devez donc consulter cette politique régulièrement. Si des changements importants sont apportés aux pratiques d’information de FILMube, vous recevrez un avis en ligne approprié. French film director and screenwriter whose career extended over more than six decades. In later films, Resnais moved away from the overtly political topics of some previous works and developed his interests in an interaction between cinema and other cultural forms, including theatre, music, and comic books. His films frequently explore the relationship between consciousness, memory, and the imagination, and he was noted for devising innovative formal structures for his narratives. Throughout his career, he won many awards from international film festivals and academies.

Resnais was born in 1922 at Vannes in Brittany, where his father was a pharmacist. An only child, he was often ill with asthma in childhood, which led to his being withdrawn from school and educated at home. Visits to the theatre in Paris gave Resnais the desire to be an actor, and in 1939 he moved to Paris to become an assistant in Georges Pitoëff’s company at the Théâtre des Mathurins. Resnais left in 1945 to do his military service which took him to Germany and Austria with the occupying forces, as well as making him a temporary member of a travelling theatre company, Les Arlequins. He returned to Paris in 1946 to start his career as a film editor, but also began making short films of his own. After beginning with a series of short documentary films showing artists at work in their studios, as well as a few commercial commissions, Resnais was invited in 1948 to make a film about the paintings of Van Gogh, to coincide with an exhibition that was being mounted in Paris.

Nazi concentration camps, but it deals more with the memory of the camps than with their actual past existence. Bibliothèque nationale were explored in another compendium of long travelling shots. At the beginning of the 1960s France remained deeply divided by the Algerian War, and in 1960 the Manifesto of the 121, which protested against French military policy in Algeria, was signed by a group of leading intellectuals and artists who included Resnais. From 1968 onwards, Resnais’s films no longer addressed, at least directly, big political issues in the way that a number of his previous ones had done, and his next project seemed to mark a change of direction. Resnais spent some time in America working on various unfulfilled projects, including one about the Marquis de Sade. Jorge Semprun wrote the introductory text. Resnais made his first film in English, with a screenplay written by David Mercer, and a cast that included John Gielgud and Dirk Bogarde.

From the 1980s onwards Resnais showed a particular interest in integrating material from other forms of popular culture into his films, drawing especially on music and the theatre. Henri Bernstein’s 1929 play of the same name. Speaking in 1986, Resnais said that he did not make a separation between cinema and theatre and refused to make enemies of them. He preferred working with « people of the theatre », and he said that he would never want to film a novel. In his final two films, Resnais again drew his source material from the theatre. Resnais was often linked with the group of French filmmakers who made their breakthrough as the New Wave or nouvelle vague in the late 1950s, but by then he had already established a significant reputation through his ten years of work on documentary short films.

The importance of creative collaboration in Resnais’s films has been noted by many commentators. Unlike many of his contemporaries, he always refused to write his own screenplays and attached great importance to the contribution of his chosen writer, whose status in the shared « authorship » of the film he fully acknowledged. Time and memory have regularly been identified as two of the principal themes of Resnais’s work, at least in his earlier films. He however consistently tried to modify this view of his concerns: « I prefer to speak of the imaginary, or of consciousness. Another view of the evolution of Resnais’s career saw him moving progressively away from a realistic treatment of ‘big’ subjects and overtly political themes towards films that are increasingly personal and playful.

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