Director: Alain Resnais
Cast: Emmanuelle Riva, Eiji Okada, Bernard Fresson, Stella Dassas, Pierre Barbaud
France, Japan, 1959, 91’, black & white; French, Japanese, English with Turkish subtitles
Made in 1959, Hiroshima mon amour is a modern-day narrative by Alain Resnais, one of the well-known names of the French New Wave. It has gone down in history as a touching elegy and a stinging humanist critique about innocent people who have lost their lives. Besides being Alain Resnais’s masterpiece, Hiroshima mon amour is also considered one of the exemplary films of modern narrative cinema. One of the rightist members of the French New Wave, Resnais touches upon global problems using certain individual experiences. A small escapade in a hotel leads to fundamental oppositions like love and war, death and life, destruction and repair. Resnais shows us the relationship between a French woman and the German soldier she falls in love with, and how the soldier is killed by the French afterwards, using this story to narrate the war between Germany and France and the occupation of an innocent city (Nevers). Here, the German soldier represents Germany, which will end just like the woman’s lover, disappearing forever. The film is also important for its documentary aspects. The first scenes depicts Hiroshima right after the bomb, showing the destruction of war in all its starkness, with ruined houses, crippled children, people barely hanging on to life. The film came to occupy a unique place in the history of cinema with its anti-war approach and its modern style of narration.
Trailer
Byzantine medical art was grounded in the Greco-Roman medicine transmitted by Hippocrates and Galen and new concepts introduced by such physicians as Oribasios of Pergamon, Aetius of Amida, Alexander of Tralles and Paul of Aegina.
Pera Museum Blog is launching a new series of “Techno- Dystopia” stories in collaboration with Turkey’s Fantasy and Science Fiction Arts Association (FABISAD). The Association’s member writers are presenting newly commissioned short stories inspired by the artworks of Katherine Behar as part of the Museum’s Data’s Entry exhibition.
1638, the year Louis XIV was born –his second name, Dieudonné, alluding to his God-given status– saw the diffusion of a cult of maternity encouraged by the very devout Anne of Austria, in thanks for the miracle by which she had given birth to an heir to the French throne. Simon François de Tours (1606-1671) painted the Queen in the guise of the Virgin Mary, and the young Louis XIV as the infant Jesus, in the allegorical portrait now in the Bishop’s Palace at Sens.
Tuesday - Friday 11.00 - 17.00
The museum is closed on Saturdays,
Sundays and Mondays.
On Wednesdays, the students can
visit the museum free of admission.
Full ticket: 25 TL
Discounted: 10 TL
Groups: 20 TL (10 people or more)
