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PRINT March 1976

Infrastructures: The Films of Alain Robbe-Grillet

We dance around in a ring and suppose, But the Secret sits in the middle and knows.

—Robert Frost

THOUGH A COUPLET BY so homespun a poet as Frost may seem a peculiar place to begin talking about an urbane continental like Alain Robbe-Grillet, Frost’s lines might serve as an epigram for Robbe-Grillet’s film career in several ways, not least because of their playfulness. Certainly in the history of French filmmaking since 1945, no other figure who has been as central as Robbe-Grillet has been as little seen. The most influential development in French filmmaking began with Robert Bresson and Georges Franju, ran through the early work of Agnes Varda and Alain Resnais, and culminated in the forming of the New Wave by Godard, Truffaut, et al. And even if no other claim could be made for him, it would have to be admitted that Robbe-Grillet’s work fits chronologically right into the middle of this

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