Marienbad: strategie di costruzione di uno spazio filmico

Last year at Marienbad (L'annèe dernière à Marienbad, Alain Resnais,1961), emphasized the role of the filmic space not only in early modern cinema but today offers a "liquid" matrix, something like a "fluxus", to explore, and sometimes explain, contemporary cinema. Resnai's film dissolves in the sense of space certainties of time, memory and identity of the characters playing as "algebric acts". Setting plays a huge part in Resnai's work. Setting itself beget the characters, their postures. Interior and exterior aren't a real opposition. This pposition exists but it's precises up to a point. In effect interior and exterior contaminate one another. Last year at Marienbad "is based on the kind of play wich opposes, to the Cartesianism of conscious life, the baroque nature of our memory and our affective life". This search analyzes shooting and editing typologies (travellings, cuts, long-takes) to develop places into the grand hotel of the film and examines thresholds linking a space to another. In addiction to editing and shooting also the voice provides to disclose the space. In Marienbad the voice develops a journey that has already been understaken, apparently, many times. In this atmosphere labyrinthic space is, in a one hand, a condition of safe, in another hand, the only way of life, although a refined black and white prison.