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Alain Resnais (; 3 June 19221 March 2014) was a French film director whose career extended over more than six decades. After training as a film editor in the mid-1940s, he went on to direct a number of short films which included ''Night and Fog'' (1955), an influential documentary about the Nazi concentration camps.〔Ephraim Katz, ''The International Film Encyclopedia''. (London: Macmillan, 1980.) p. 966–967.〕 Resnais began making feature films in the late 1950s and consolidated his early reputation with ''Hiroshima mon amour'' (1959), ''Last Year at Marienbad'' (1961), and ''Muriel'' (1963), all of which adopted unconventional narrative techniques to deal with themes of troubled memory and the imagined past. These films were contemporary with, and associated with, the French New Wave (''la nouvelle vague''), though Resnais did not regard himself as being fully part of that movement. He had closer links to the "Left Bank" group of authors and filmmakers who shared a commitment to modernism and an interest in left-wing politics. He also established a regular practice of working on his films in collaboration with writers previously unconnected with the cinema such as Jean Cayrol, Marguerite Duras, Alain Robbe-Grillet, Jorge Semprún and Jacques Sternberg.〔〔Peter Cowie, '' The Explosion of World Cinema in the 60s''. (London: Faber, 2004.) p.67.〕〔International Dictionary of Films and Filmmakers – 2: Directors; 4th ed., edited by Tom Prendergast and Sara Prendergast. (New York, London: St James Press, 2000.) p.816.〕〔Slavo Zizek, ''Less Than Nothing: Hegel and the Shadow of Dialectical Materialism''. (London: Verso, 2012). p.28. ISBN 978-1-84467-897-6〕 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. This led to imaginative adaptations of plays by Alan Ayckbourn, Henri Bernstein and Jean Anouilh, as well as films featuring various kinds of popular song. His films frequently explore the relationship between consciousness, memory, and the imagination, and he was noted for devising innovative formal structures for his narratives.〔''Une histoire du cinéma français'', (by ) Claude Beylie. (Paris: Larousse, 2005.) p.501.〕〔''Encyclopedia of European Cinema''; edited by Ginette Vincendeau. (London: Cassell, British Film Institute, 1995.) p.358.〕 Throughout his career, he won many awards from international film festivals and academies. ==Early life== Resnais was born in 1922 at Vannes in Brittany, where his father was a pharmacist.〔Emma Wilson, ''Alain Resnais''. (Manchester: Manchester U.P., 2006.) p.2.〕 An only child, he was often ill with asthma in childhood, which led to his being withdrawn from school and educated at home.〔James Monaco, ''Alain Resnais: the Rôle of Imagination''. (London: Secker & Warburg, 1978.) p.15.〕 He was an eager reader, in a range that extended from classics to comic books, but from the age of 10 he became fascinated by films. For his twelfth birthday his parents gave him a Kodak 8mm camera with which he began to make his own short films, including a three-minute version of ''Fantômas''.〔Robert Benayoun, ''Alain Resnais: arpenteur de l'imagination''. (Paris: Ramsay, 2008). pp.22–25.〕 Around the age of 14, he discovered surrealism and through that an interest in the works of André Breton.〔Robert Benayoun, ''Alain Resnais: arpenteur de l'imagination''. (Paris: Ramsay, 2008). p.29.〕 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. From 1940 to 1942 he studied acting in the Cours René-Simon (and one of his small jobs at this time was as an extra in the film ''Les Visiteurs du soir''〔Suzanne Liandrat-Guigues & Jean-Louis Leutrat, ''Alain Resnais: liaisons secrètes, accords vagabonds''. (Paris: Cahiers du Cinéma, 2006). pp.176–177.〕), but he then decided in 1943 to apply to the newly formed film school IDHEC to study film editing.〔James Monaco, ''Alain Resnais: the Rôle of Imagination''. (London: Secker & Warburg, 1978.) p.17.〕 The film-maker Jean Grémillon was one of the teachers who had the most influence on him at that period.〔Suzanne Liandrat-Guigues & Jean-Louis Leutrat, ''Alain Resnais: liaisons secrètes, accords vagabonds''. (Paris: Cahiers du Cinéma, 2006). p.180.〕 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.〔International Dictionary of Films and Filmmakers – 2: Directors; 2nd ed., edited by Nicholas Thomas. (Chicago, London: St James Press, 1991.) pp.689–692.〕 He returned to Paris in 1946 to start his career as a film editor, but also began making short films of his own. Finding himself to be a neighbour of the actor Gérard Philipe, he persuaded him to appear in a 16mm surrealist short, ''Schéma d'une identification'' (now lost).〔 A more ambitious feature-length work, ''Ouvert pour cause d'inventaire'', has also vanished without trace.〔Robert Benayoun, ''Alain Resnais: arpenteur de l'imagination''. (Paris: Ramsay, 2008). p.42.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Alain Resnais」の詳細全文を読む スポンサード リンク
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