Alain Resnais Sinemasında Modernite Eleştirisinin Uzamsal İzleri, Zaman ve Bellekten Arta Kalan: Geçen Yıl Marienbad'da ve Hiroşima Sevgilim
The Spatial Points of Critique of Modernism in Alain Resnais Cinema, Remains of the Time and Memory: L'année Dernière À Marienbad and Hiroshima, Mon Amour

Summary/Abstract: Alain Resnais, who is one of the important directors of contemporary cinema, transforms the art of cinema into an intellectual experience. His cinematographic style includes a critical perspective of his own age via space, time and memory. The points of memory and time are implicated in spatial construction of his films as an intellectual perspective. The theme of the article will be discussed through the spatial, time and memory vision of the films; L'année Dernière À Marienbad (Geçen Yıl Marienbad'da, 1961) and Hiroshima, Mon Amour (Hiroşima, Sevgilim, 1959) for reliving the attraction between his style and the intellectual characteristic of his age. The films are the first fiction films of Alain Resnais after his short and documentary films and also produced with the collaboration of well known New Novel stream’s main authors; Marguerite Duras and Alain Robbe-Grillet. The difference in his stylistic approach from the other directors of New Wave Cinema is implicit in the special characteristic of modern age’s time and space. The essay aims to clarify the cinematographic instruments of his style due to the mentioned characteristics of modern age. Thereby Alain Resnais creates the infeasible spatial of remembering and forgetting with the unique style of editing, cinematography and art directing.

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