The Alain Resnais’ cinema brings along insurmountable unknowns that currently, few month after his death, still provoke endless questions to the viewer. His attention to writing structures of the nouvel roman and of action through the analysis of the narrative and time (phenomenology of memory) in the shaping of the film story, make him since the origins of his cinema reaping rewards but also failures. Although his films are part of the collective imagination of the history of cinema, nowadays we can confirm how his works are becoming a source of uneasiness and lack of understanding by the new generations, who are not used to this kind of cinema. In fact his cinema seems that is only partially interesting for psychoanalysts, cinema and image researchers or history and memory researchers. Taking advantage of the interest of an important number of critics of the Resnais’ work, we aim to carry out under the analysis of history, memory and oblivion- the oblivion to which Resnais and his works are subject- an approach to his filmography. The starting point of this seminar, will be first, to make his work understandable for a new audience, and second, to place us from an epistemological context between history and intimacy. That is, from “affective history”. Thus, we will add to the Resnais’ work the texts by Marguerite Duras, Alain Robbe-Grillet, Jean Cayrol as they can be considered the grounds of Resnais’ films. In these texts he found the almost theatrical and literary composition of how memory is narrated. Through this we can observe the corollary of the search about the creation of the story that Ricoeur will set in the three parts of Temps et récit, using the Aristotelian mimesis, in the memory, history and oblivion and in which the selected films of Resnais have its correlative in the words of Duras, Robbe-Grillet or Cayrol (interest that he always had for the experience of the “nouvel roman”) and in his own images.