By Michael Eaton
This examine analyzes Chinatown within the context of the determine of the detective in literature and movie from Sophocles to Edgar Allan Poe and Alfred Hitchcock.
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Extra info for Chinatown (BFI Film Classics)
This Mediterranean 'is in the midst of different lands'; the central region, says Jean-Luc Godard at the end of Scénario du film Passion. The film begins with an image of barbed wire (the experience of disaster), then moves on to images of Horus and the Pyramids, while the text speaks ofthe flight of an 'unknown memory' towards 'more and more distant eras', an expression which is perfectly in keeping with Resnais's film. It evokes an 'other side' behind the curtain, an unimaginable somewhere, a double which stands in for us; a final conjunction is hinted ato Gn the one hand 'things seen without vision', on the other a duplicating of space, people and movement ('detached from itse1f').
L03. 37 And doubtless dueto the facttbat he'd met De1phine Seyng in New York while she was performlng in another Ibsen play, An Enemy o/ the People. 38 When speaking to Resoais of the title of the play, Rosmer, he claimed not to have had Ibsen in mind: 'I' d tbought, maybe, of Jean Rosmer, a popular novelist of the mid-20s', in Posítifnos 329-30, p. 22. 152. 40 L'Arcno. 31, p. , p. 66. 42 Jacques Saulmer, p. 43. , p. 55. Like tbe otber sets, tbe corridor was constructed in the Photosonor Studios 'where this was tbe last film but one shot before tbeir demolition', cf.
895, 5-11 October 1961. a 19 Statement by Philippe Brun, L'Arc no. 62. 20 In Fran90is Thomas, L 'A telier d'Alaín Resnais (Paris: Flammaríon, 1989), p. 115. AIso see the interview with Jacques Saulnier, Positif nos 329-30, July-August 1988, p. 42. 21 Jacques Saulnjer, p. 42. 22 Thomas, L'Atelier, p. 144. 23 Statement by Philippe Brun, p. 189. 24 Sacha Vierny, In Thomas, L'Atelier, pp. 172-3. 25 Thomas, L'Atelier, pp. 190-1. 26 Hubert Juin interview, 'Quatre de Manenbad' . 27 L'Arcno. 31,pp. 66-7.
Chinatown (BFI Film Classics) by Michael Eaton