Özet:

Alain Resnais, one of the leading authors of contemporary cinema, is one of the leading directors known for his mastery in transforming cinema art into an intellectual experience. The traces of the time- and memory-thinking perspective of the way the director uses in film films are hidden in the space building of the cinema. That’s why Deleuze (1997) has the concept of the film as a time image. The subject of the study will be discussed on Resnais's two films, L'année Dernière À Marienbad (Last Year in Marienbad, 1961) and Hiroshima, Mon Amour (Hiroshima, My Dear, 1959) . These two films were preferred because they were both Resnais's first fictional works after the documentary and short films, and because they were the products of the works made in collaboration with the two major authors of the period - Marguerite Duras and Alain Robbe-Grillet. Deleuze emphasizes that at this point, by distinguishing Resnais from the New Wave filmmakers, he made a very intellectual 'brain cinema' from a 'body cinema' (1997:204). Therefore, it creates the impossible extent of remembering and forgetting; if it is necessary, it creates its own form in the image and art management. Last year in Marienbad and Hiroshima, my dear films, selected to discuss the traces of this formatting, will be studied by the method of text analysis through length, time and memory.

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