By Curtis D.
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See Odin, L’Age d’or du documentaire, pp. 9–15; and Berthomé, ‘Les court-métrages d’art en France 1946–1961’, p. 96. 60. Oms, Alain Resnais, p. 12. 61. Burch, ‘A conversation with Alain Resnais’. 62. Thomas, ‘Sur trois ﬁlm inconnus d’Alain Resnais. Portrait de Henri Goetz, Hans Hartung, Christine Boomeester’. 37–41. 63. Burch, ‘A conversation with Alain Resnais’. 64. Resnais, ‘Une expérience’. 65. Monaco, Alain Resnais, p. 18. 66. For a detailed description and analysis of Van Gogh, Gauguin and Guernica, see Cieutat, ‘La “caméra-pinceau” d’Alain Resnais’.
On the other hand, they are not autonomous ﬁlms since they remain dependent on other arts. It is striking that Bazin, who usually dismissed a montage aesthetics in favour of mise-en-scène, long take and deep focus, expressed himself favourably on the art documentaries by Resnais. It is clear that, for Bazin and Resnais, paintings are intriguing and obstinate themes and motifs which lend themselves only with great difficulty to a Bazinian realism celebrating the indeterminism of everyday reality.
In order to analyse the style, composition and iconography of the artist, Storck called in the entire repertory of the ﬁlm medium – from split screens and multiple exposures to parallel editing and animation techniques. In Rubens, Storck frequently isolates a fragment of the painting through the device of an iris. A subsequent shot shows a close-up of that fragment for a more detailed analysis. In other instances, a moving camera and rapidly rotating images reveal Rubens’s predilection for spiral-shaped movements.
CLU user's guide by Curtis D.