Alain Resnais would be an interesting subject for alternative forms of
editing. James Monaco's book on Alain Resnais is helpful there,
especially the chapter on Je t'aime, Je t'aime.
In connection with Resnais many texts refert to a difference between
mise-en-scène and découpage. The (early) films of Resnais have a very
skillfully laid down découpage (not storyboards). The editing begins
with the screenplay, for example the fragmented story telling in Muriel,
a very interesting example of discontinuity editing which corresonds
with the characters' disorientation, or in Je t'aime, Je t'aime, in
which a failed time travel deconstructs the chronology of the narration.
In Resnais cinema, alternative editing is always for the purpose of the
story, not for the disruption of cinematic representation.
Herbert
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