Derek Schilling
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This conclusion presents some closing thoughts on the concepts discussed in this book. The book provides a brief excursus on le rohmérien, that inimitable, instantly recognisable variant of the French language that spectators come to love or to hate. In a world where gun-slinging, pistol-packing men short on vocabulary and long on machismo have all but defined what it means to be a hero (and even a heroine), the characters whom Eric Rohmer has brought to the screen may come across as impossibly lightweight. A keen sense of economy encouraged by Les Films du Losange and his own Compagnie, Eric Rohmer has only reinforced the director in his dedication to theme and variation as an enabling artistic and commercial principle. In a hundred years' time, media archaeologists may look back to Eric Rohmer's oeuvre as one of the odder embodiments of a belatedly classical aesthetic.

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