L’Homme qui ment, L’Eden et après, N. a pris les dés, Le Jeu avec le feu, Un bruit qui rend fou

in Alain Robbe-Grillet
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Indeed, there is a self-conscious playfulness in the ways in which Robbe-Grillet's novels and films return obsessively to the same themes and motifs. This intertextuality is a theme, informing many important aspects of the filmic uvre, and forming part of a ludic tendency shared by other exponents of the new novel. Robbe-Grillet is conscious of this wider tendency among other authors of his generation, and in a sense pays homage to it in his own work. The structures that Robbe-Grillet draws from expressionistic and pop art and from contemporary music may be considered as expressions of a playful approach to art. The ludicity of Robbe-Grillet's work does not stop at the narcissistic self-mirroring of a personal or interpersonal intertextuality, but extends to the experimental use of game structures within the filmic work, and to their employment outside it as an approach to the making of the films themselves.



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