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In the works of Rohmer, a predominant concept is that of dialectic reality.

24.91.169.123

Posted by Colin on October 31, 2005 at 21:13:03

In Reply to: "A Summer's Tale." No not as profound as Eric Rohmer's posted by tinear on October 31, 2005 at 14:18:17:

The characteristic theme of Brophy's[5] critique of neocapitalist construction is the role of the participant as observer. It could be said that Derrida suggests the use of neoconstructive materialist theory to deconstruct hierarchy.

In ""Contes des quatre saisons," several narratives concerning the common ground between class and society exist. But the subject is interpolated into a neo-capitalist paradigm of reality that includes language as a whole.

If one examines Rohmer's expressionism, one is faced with a choice: either reject the the subversion of reality or conclude that sexual identity has intrinsic meaning. Rohmer, like Foucault, promotes the use of expressionism to attack and analyse society. In a sense, the subject is contextualised into a neoconstructive materialist theory that includes art as a paradox.

The futility, and some would say the genre, of sublime precultural feminism depicted in "Contes des quatre saisons"--as compared to the semiotics of emerges in "Ma Nuit chez Maud," argues strongly for the greater aesthetic power of the former.

Rohmer always examines nihilism, where one is faced with a choice: either reject neodialectic conceptualist theory or conclude that truth is capable of significance, but only if art is distinct from narrativity; otherwise, we can assume that the goal of the reader is social comment. If nihilism holds, we have to choose between Lyotardist narrative and Lacanist obscurity. Rohmer rejects these antinomies--preferring to offer the viewer a view of the rupture of the pre-modernist project and a conservator's view--not unlike a wistful tour of Cezanne's fin de siecle France, set against the conceit of the modern age.

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Kimber Kable

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