Rayon is a manufactured regenerated cellulose fiber. Because it is produced from naturally occurring polymers, it is neither a truly synthetic fiber nor a natural fiber; it is a semi-synthetic^[1] or artificial^[2] fiber. Rayon is known by the names viscose rayon and art silk in the textile industry. It usually has a high luster quality giving it a bright sheen.

Cellulose is treated with alkali and carbon disulfide to yield viscose.

Uses[link]

Some major rayon fiber uses include apparel (e.g. Aloha shirts, blouses, dresses, jackets, lingerie, linings, scarves, suits, neckties, hats, socks), the filling in Zippo lighters, furnishings (e.g. bedspreads, bedsheets, blankets, window treatments, upholstery, slipcovers), industrial uses (e.g. medical surgery products, non-woven products, tire cord), and other uses (e.g. yarn, feminine hygiene products, diapers, towels).^[3] Rayon is a major feedstock in the production of carbon fiber.^{[citation needed]}

History[link]

Nitrocellulose[link]

The fact that nitrocellulose is soluble in organic solvents such as ether and acetone made it possible for Georges Audemars to develop the first "artificial silk" in about 1855, but his method was impractical for commercial use. Commercial production started in 1891, but the result was flammable and more expensive than acetate or cuprammonium rayon. Because of this, production was stopped before World War I. It was briefly known as "mother-in-law silk."^[4] Nathan Rosenstein invented the spunize process by which he turned rayon from a hard fiber to a fabric. This allowed rayon to become a popular raw material in textiles.

Acetate method[link]

Paul Schützenberger discovered that cellulose could be reacted with acetic anhydride to form cellulose acetate. The triacetate is only^{[citation needed]} soluble in chloroform making the method expensive. The discovery that hydrolyzed cellulose acetate is soluble in more polar solvents, like acetone, made production of cellulose acetate fibers cheap and efficient.

Cuprammonium method[link]

The Swiss chemist Matthias Eduard Schweizer (1818-1860) discovered that tetraaminecopper dihydroxide could dissolve cellulose. Max Fremery and Johann Urban developed a method to produce carbon fibers for use in light bulbs in 1897.^[5] Production of rayon for textiles started in 1899 in the Vereinigte Glanzstoff Fabriken AG in Oberbruch. Improvement^{[citation needed]} by the J. P. Bemberg AG in 1904 made the artificial silk a product comparable to real silk.

Viscose method[link]

A device for spinning Viscose Rayon dating from 1901

Finally, in 1894, English chemist Charles Frederick Cross, and his collaborators Edward John Bevan, and Clayton Beadle patented their artificial silk, which they named "viscose", because the reaction product of carbon disulfide and cellulose in basic conditions gave a highly viscous solution of xanthate. The first commercial viscose rayon was produced by the UK company Courtaulds Fibers in 1905. Avtex Fibers Incorporated began selling their formulation in the United States in 1910. The name "rayon" was adopted in 1924, with "viscose" being used for the viscous organic liquid used to make both rayon and cellophane. In Europe, though, the fabric itself became known as "viscose," which has been ruled an acceptable alternative term for rayon by the U.S. Federal Trade Commission.

The method is able to use wood (cellulose and lignin) as a source of cellulose while the other methods need lignin-free cellulose as starting material. This makes it cheaper and therefore it was used on a larger scale than the other methods. Contamination of the waste water by carbon disulfide, lignin and the xanthates made this process detrimental to the environment. Rayon was only produced as a filament fiber until the 1930s when it was discovered that broken waste rayon could be used in staple fiber.

The physical properties of rayon were unchanged until the development of high-tenacity rayon in the 1940s. Further research and development led to the creation of high-wet-modulus rayon (HWM rayon) in the 1950s.^[6] Research in the UK was centred on the government-funded British Rayon Research Association.

Major fiber properties[link]

Rayon is a versatile fiber and has the same comfort properties as natural fibers. It can imitate the feel and texture of silk, wool, cotton and linen. The fibers are easily dyed in a wide range of colors. Rayon fabrics are soft, smooth, cool, comfortable, and highly absorbent, but they do not insulate body heat, making them ideal for use in hot and humid climates.^[7]

The durability and appearance retention of regular rayon are low, especially when wet; also, rayon has the lowest elastic recovery of any fiber. However, HWM rayon is much stronger and exhibits higher durability and appearance retention. Recommended care for regular rayon is dry-cleaning only. HWM rayon can be machine washed.^[6]

Gallery of textures[link]

• 

  A sample of rayon from a skirt, photographed with a macro lens.

• 

  Another skirt with a different texture.

• 

  A blouse with a texture similar to the second.

Physical structure[link]

Regular rayon has lengthwise lines called striations and its cross-section is an indented circular shape. The cross-sections of HWM and cupra rayon are rounder. Filament rayon yarns vary from 80 to 980 filaments per yarn and vary in size from 40 to 5000 denier. Staple fibers range from 1.5 to 15 denier and are mechanically or chemically crimped. Rayon fibers are naturally very bright, but the addition of delustering pigments cuts down on this natural brightness.^[6]

Production method[link]

Regular rayon (or viscose) is the most widely produced form of rayon. This method of rayon production has been utilized since the early 1900s and it has the ability to produce either filament or staple fibers. The process is as follows:

1. Cellulose: Production begins with processed cellulose
2. Immersion: The cellulose is dissolved in caustic soda: (C₆H₁₀O₅)_n + nNaOH → (C₆H₉O₄ONa)_n + nH₂O
3. Pressing: The solution is then pressed between rollers to remove excess liquid
4. White Crumb: The pressed sheets are crumbled or shredded to produce what is known as "white crumb"
5. Aging: The "white crumb" aged through exposure to oxygen
6. Xanthation: The aged "white crumb" is mixed with carbon disulfide in a process known as Xanthation, the aged alkali cellulose crumbs are placed in vats and are allowed to react with carbon disulfide under controlled temperature (20 to 30 °C) to form cellulose xanthate: (C₆H₉O₄ONa)_n + nCS₂ → (C₆H₉O₄O-SC-SNa)_n
7. Yellow Crumb: Xanthation changes the chemical makeup of the cellulose mixture and the resulting product is now called "yellow crumb"
8. Viscose: The "yellow crumb" is dissolved in a caustic solution to form viscose
9. Ripening: The viscose is set to stand for a period of time, allowing it to ripen: (C₆H₉O₄O-SC-SNa)_n + nH₂O → (C₆H₁₀O₅)_n + nCS₂ + nNaOH
10. Filtering: After ripening, the viscose is filtered to remove any undissolved particles
11. Degassing: Any bubbles of air are pressed from the viscose in a degassing process
12. Extruding: The viscose solution is extruded through a spinneret, which resembles a shower head with many small holes
13. Acid Bath: As the viscose exits the spinneret, it lands in a bath of sulfuric acid, resulting in the formation of rayon filaments: (C₆H₉O₄O-SC-SNa)_n + ½nH₂SO₄ → (C₆H₁₀O₅)_n + nCS₂ + ½nNa₂SO₄
14. Drawing: The rayon filaments are stretched, known as drawing, to straighten out the fibers
15. Washing: The fibers are then washed to remove any residual chemicals
16. Cutting: If filament fibers are desired the process ends here. The filaments are cut down when producing staple fibers^[3]

High wet modulus rayon (HWM) is a modified version of viscose that has a greater strength when wet. It also has the ability to be mercerized like cotton. HWM rayons are also known as "polynosic"^{[clarification needed]} or can be identified by the trade name Modal.^[8]

High-tenacity rayon is another modified version of viscose that has almost twice the strength of HWM. This type of rayon is typically used for industrial purposes such as tire cord.^[8]

Cupramonium rayon has properties similar to viscose but during production, the cellulose is combined with copper and ammonia (Schweizer's reagent). Due to the environmental effects of this production method, cupramonium rayon is no longer produced in the United States.^[8]

Disposal and biodegradability[link]

The biodegradability of fibers in soil burial and sewage sludge was evaluated by Korean researchers who found that biodegradability decreased in the following order: rayon, cotton, acetate (meaning rayon decays more readily than cotton). The ability of individual rayon-based fabrics to repel water was negatively correlated with their speed of degradation (meaning the greater the water-repelling ability of the fibre, the slower it will decompose).^[9]

Alternative to cotton[link]

Rising cotton prices in 2010 led clothing makers to begin replacing cotton with rayon in their fabrics. Designers such as Isaac Mizrahi have incorporated rayon into their newest designs. As demand for rayon increases, companies such as Fortress Paper have been investing in pulp mills to increase production. Rayon now sells for as much as $2.70 per pound, which has led to an increase in the retail price of clothing made with rayon, despite rayon's price advantage over cotton.^[10]

Controversies[link]

Rayon has been accused by some as contributing to the destruction of rain forests^[11] although rayon production can come from a wide variety of trees and most of its yearly production comes from renewable trees.^[12][13]

In early 2010, the U.S. Federal Trade Commission warned several retailers that six major manufacturers were falsely labeling rayon products as "bamboo", in order to appeal to environmentally conscious consumers. While rayon may be produced with bamboo as a raw material, and the two may be used for similar fabrics (though natural bamboo is not as smooth), rayon is so far removed from bamboo by chemical processing that the two are entirely separate.^[14]

Producers[link]

Trade names are used within the rayon industry to determine the type of rayon used.

Bemberg, for example, is a trade name for cupramonium rayon developed by J. P. Bemberg that is now only produced in Italy due to United States Environmental Protection Agency regulations in the US.

Modal and Tencel are widely used forms of rayon produced by Lenzing AG which is based in northern Austria. Tencel, generic name lyocell, is made by a slightly different solvent recovery process, and is considered a different fiber by the US FTC.

Galaxy, Danufil, and Viloft are rayon brands produced by Kelheim Fibres, a German manufacturer.

Acordis is a major manufacturer of cellulose based fibers and yarns. Production facilities can be found throughout Europe, the U.S. and Brazil.^{[citation needed]}

Visil rayon is a flame retardant form of viscose which has silica embedded in the fiber during manufacturing.

North American Rayon Corporation of Tennessee produced viscose rayon until its closure in the year 2000.^[15]

Grasim of India is the largest producer of rayon in the world (claiming 24% market share). It has plants in Nagda, Kharach and Harihar – all in India, as well as joint ventures in Canada, Laos and China.^[16]

See also[link]

• Hilaire de Chardonnet

Further reading[link]

For a description of the production method at a factory in Germany in World War II, see pages 152–155 of

• Agnès Humbert, (tr. Barbara Mellor) Résistance: Memoirs of Occupied France, London, Bloomsbury Publishing PLC, 2008 ISBN 978-0-7475-9597-7 (American title: Resistance: A Frenchwoman's Journal of the War, Bloomsbury, USA, 2008)

References[link]

This article uses bare URLs for citations. Please consider adding full citations so that the article remains verifiable. Several templates and the Reflinks tool are available to assist in formatting. (Reflinks documentation) (October 2011)

External links[link]

Look up Bemberg in Wiktionary, the free dictionary.

Look up rayon in Wiktionary, the free dictionary.

• History of Viscose Rayon and Artificial Silk
• Cellulose Based Plastics: Celluloid and Rayon

v t e Fibers Natural Animal Alpaca Angora Byssus Camel hair Cashmere Catgut Chiengora Guanaco Llama Mohair Pashmina Qiviut Rabbit Silk Sinew Spider silk Wool Vicuña Yak Vegetable Abacá Bagasse Bamboo Coir Cotton Flax Linen Hemp Jute Kapok Kenaf Piña Raffia Ramie Sisal Wood Mineral Asbestos Synthetic Cellulose Acetate Triacetate Art silk Bamboo Lyocell Rayon Modal Rayon Rayon Mineral Glass Carbon Tenax Basalt Metallic Polymer Acrylic Aramid Twaron Kevlar Technora Nomex Microfiber Modacrylic Nylon Olefin Polyester Polyethylene Dyneema Spectra Spandex Vinylon Vinyon Zylon

Mohamed Guy William Baldé, just known as William Baldé, is a singer-songwriter and composer born in Guinea. In 2008, he became famous with his album En corps étranger and his single "Rayon de soleil", number-one hit in France and Belgium.

Biography[link]

William Baldé started his singing career with the afro soul band Yuba in which he sang in English. The group had a contract with EMI record company and released in 1995 a first album entitled Everybody Nyani. Well received in the showbiz, Yuba opened the concerts of Jamiroquai and The Eagles, among other artists.

The soloist career of William Baldé started in the late 2007, when he was first part of the concerts of Christophe Maé, singing in front of a large audience (over 400,000). In June 2008, he released his first album En corps étranger and the summer hit "Rayon de soleil" which was a smash hit in France and Belgium (Wallonia). This single was followed by the second one from this album, Sweet Lady.

Baldé is currently nominated for the 2009 NRJ Music Awards in the category 'French revelation of the year'.

Discography[link]

Albums[link]

Singles[link]

References[link]

External links[link]

• Official site

Éric Rohmer
Rohmer at the Cinémathèque Française in 2004
Born	Maurice Henri Joseph Schérer or Jean Marie Maurice Schérer (1920-03-20)20 March 1920 Tulle, Corrèze, France
Died	11 January 2010(2010-01-11) (aged 89) Paris, France
Occupation	Film Director
Years active	1950–2010

Éric Rohmer (French: [eʁik ʁomɛʁ]; 1920–2010) was a French film director, film critic, journalist, novelist, screenwriter and teacher. A figure in the post-war New Wave cinema, he was a former editor of Cahiers du cinéma.

Rohmer was the last of the French New Wave directors to become established. He worked as the editor of the Cahiers du cinéma periodical from 1957 to 1963, while most of his Cahiers colleagues – among them Jean-Luc Godard and François Truffaut – were beginning their careers and gaining international attention. René Schérer, a philosopher, is his brother and René Monzat, a journalist, is his son.

Rohmer came to international attention around 1969 when his film Ma nuit chez Maud (My Night at Maud's) was nominated at the Academy Awards.^[1] He won the San Sebastián International Film Festival with Claire's Knee in 1971. In 2001, Rohmer received the Golden Lion at the Venice Film Festival. His works were viewed by audiences around the world. He died of unspecified causes on 11 January 2010. In his obituary in The Daily Telegraph he was described as "the most durable film-maker of the French New Wave", outlasting his peers and "still making movies the public wanted to see" late in his career.^[2]

Biography[link]

Early life[link]

Rohmer was born Maurice Henri Joseph Schérer (or Jean-Marie Maurice Schérer)^[3] in Tulle in south central France, the son of Mathilde (née Bucher) and Lucien Scherer.^[4] Rohmer was a Roman Catholic.^[2][5] He fashioned his pseudonym from the names of two famous artists: actor and director Erich von Stroheim and writer Sax Rohmer, author of the Fu Manchu series.^[6]

Career[link]

Rohmer originally began his career as a teacher,^[7] while also working as a newspaper journalist.^[6] Under the pseudonym Gilbert Cordier, he published a novel, Elisabeth, in 1946.^[6]

In 1950, he co-founded La Gazette du Cinéma. In 1951, Rohmer shot the short film Présentation ou Charlotte et son steak, co-starring a young Jean-Luc Godard (however, the film was not completed until 1961). Soon thereafter, Rohmer joined the staff of the newly founded film magazine Cahiers du Cinema, of which he would eventually become the editor.^[7][8] There, Rohmer established himself as a critic with a distinctive voice; fellow Cahiers du Cinema contributor and French New Wave filmmaker Luc Moullet later remarked that, unlike the more aggressive and personal writings of younger critics like Francois Truffaut and Jean-Luc Godard, Rohmer favored a rhetorical style that made extensive use of questions and rarely used the first person singular.^[9]

With Claude Chabrol, Rohmer co-wrote a study of Alfred Hitchcock, Hitchcock (Paris: Éditions Universitaires, 1957), which focused on Hitchcock's Roman Catholic background and is described as "one of the most influential film books since the Second World War, casting new light on a film-maker hitherto considered a mere entertainer".^[2]

In 1957, Rohmer was married to Thérèse Barbet.^[2] The couple had two sons.^[2]

Chabrol produced Rohmer's directorial debut, Le signe du lion in 1959 to little notice. In 1963 Barbet Schroeder founded the production company Les Films du Losange which produced all of Rohmer's work (except his last three features produced by La Compagnie Eric Rohmer).^[10] Rohmer's career began to gain momentum with his cycle of films Six Moral Tales. Each tale follows the same story, inspired by F. W. Murnau's Sunrise (1927) — a man, married or otherwise committed to a woman is tempted by a second woman but resists. The first La boulangère de Monceau lasts 23 minutes, the second La Carrière de Suzanne 55 minutes, the remainder are feature-length. The third (Ma nuit chez Maud) and the fifth (Le Genou de Claire) films in the series brought him international recognition. The third (the fourth to be shot), Ma nuit chez Maud (1969), received Oscar nominations for best screenplay and best foreign film,^[6][7][11] while the following film Le Genou de Claire (Claire's Knee, 1971) won the San Sebastián International Film Festival.^[7]

Later professional life[link]

Following the Moral Tales Rohmer made two period films — La Marquise d'O... (1976) from a novella by Heinrich von Kleist and Perceval le Gallois (1978), based on a 12th century manuscript by Chrétien de Troyes. Rohmer was a highly literary man. His films frequently refer to ideas and themes in plays and novels, such as references to Jules Verne (in The Green Ray), William Shakespeare (in A Winter's Tale) and Pascal's Wager (in Ma nuit chez Maud).

Rohmer embarked on a second series, the Comedies and Proverbs, each based on a proverb. He followed these with a third series in the 1990s: Tales of the Four Seasons. Conte d’Automne or Autumn Tale was a critically acclaimed release in 1999 when Rohmer was 79.^[7]

Beginning in the 2000s, Rohmer, in his eighties returned to period drama with The Lady and the Duke and Triple Agent. The Lady and the Duke caused considerable controversy in France, where its negative portrayal of the French Revolution led some critics to label it monarchist propaganda. Its innovative cinematic style and strong acting performances led it to be well received elsewhere.

In 2001, his life's work was recognised when he received the Golden Lion at the Venice Film Festival.^[12][13]

In 2007, Rohmer's final film, The Romance of Astrea and Celadon, was shown during the Venice Film Festival,^[12] at which he spoke of retiring.^[7][12]

Death[link]

Rohmer died on the morning of 11 January 2010 at the age of 89.^[7][12][13] His cause of death is unknown.^[12][13] He had been admitted to hospital the previous week.^[11]

The former Culture Minister Jack Lang said he was "one of the masters of French cinema".^[12] Director Thierry Fremaux described his work as "unique".^[12]

The grave of Eric Rohmer (Maurice Scherer) is located at the 13 district of Montparnasse Cemetery in Paris.

During the 2010 César Awards, actor Fabrice Luchini presented a special tribute to him:

I’m gonna read a remarkable text written by Jacques Fieschi: "Writer, director; creator of “the cinematographe”, challenger of "Les cahiers du cinema", which recently published a special edition on Eric Rohmer. Truffaut once said he was one of the greatest directors of the 20th century, Godard was his brother, Chabrol admired him, Wenders couldn’t stop taking photos of him. Rohmer is a tremendous international star. The one and only French director who was in coherence with the money spent on his films and the money that his films made. I remember a phrase by Daniel Toscan Du Plantier the day “Les Visiteurs” opened, which eventually sold 15 million tickets: “Yes but there is this incredible film called "L'arbre, le maire et la médiathèque" that sold 100,000 tickets, which may sound ridiculous in comparison, but no, because but it was only playing in one theater for an entire year." A happy time for cinema when this kind of thing could happen. Rohmer." Here is a tribute from Jacques Fieschi: "We are all connected with the cinema, at least for a short time. The cinema has its economical laws, its artistic laws, a craft that once in a while rewards us or forgets us. Eric Rohmer seems to have escaped from this reality by inventing his own laws, his own rules of the game. One could say his own economy of the cinema that served his own purpose, which could skip the others, or to be more accurate that couldn’t skip the audience with its originality. He had a very unique point of view on the different levels of language and on desire that is at work in the heart of each and every human being, on youth, on seasons, on literature, of course, and one could say on history. Eric Rohmer, this sensual intellectual, with his silhouette of a teacher and a walker. As an outsider he made luminous and candid films in which he deliberately forgot his perfect knowledge of the cinema in a very direct link with the beauty of the world." The text was by Jacques Fieschi and it was a tribute to Eric Rohmer, Thank You.

On February 8, 2010 the Cinémathèque Française held a special tribute to Rohmer which included a screening of Claire's Knee and a short video tribute to Rohmer by Jean-Luc Godard.^[14]

Rohmer's style[link]

Rohmer's films concentrate on intelligent, articulate protagonists who frequently fail to own up to their desires. The contrast between what they say and what they do fuels much of the drama in his films.

Rohmer saw the full-face closeup as a device which does not reflect how we see each other and avoided its use. He avoids extradiegetic music (not coming from onscreen sound sources), seeing it as a violation of the fourth wall. He has on occasion departed from this rule, inserting soundtrack music in places in The Green Ray (1986) (released as Summer in the United States). Rohmer also tends to spend considerable time in his films showing his characters going from place to place, walking, driving, bicycling or commuting on a train, engaging the viewer in the idea that part of the day of each individual involves quotidian travel. This was most evident in Le Beau mariage (1982), which had the female protagonist constantly traveling, particularly between Paris and Le Mans.

Rohmer typically populates his movies with people in their twenties and the settings are often on beautiful beaches and resorts, notably in La Collectionneuse (1967), Pauline at the Beach (1983), The Green Ray (1986) and A Summer's Tale (1996). These films are immersed in an environment of bright sunlight, blue skies, green grass, sandy beaches, and clear waters.

The director's characters engage in long conversations—mostly talking about man-woman relationships but also on mundane issues like trying to find a vacation spot. There are also occasional digressions by the characters on literature and philosophy as most of Rohmer's characters are middle class and university educated.

A Summer's Tale (1996) has most of the elements of a typical Rohmer film: no soundtrack music, no closeups, a seaside resort, long conversations between beautiful young people (who are middle class and educated) and discussions involving the characters' interests from songwriting to ethnology.

He described his work as follows:

Rohmer said he wanted to look at "thoughts rather than actions", dealing "less with what people do than what is going on in their minds while they are doing it."

His style was famously criticised by Gene Hackman's character in the 1975 film Night Moves who describes viewing Rohmer's films as "kind of like watching paint dry".^[7]

Awards and nominations[link]

The Venice Film Festival awarded Éric Rohmer the Career Golden Lion in 2001.

• La Collectionneuse (1967)
  • Berlin Film Festival Silver Bear Winner - Special Prize of the Jury^[15]
  • Berlin Film Festival Youth Award Film Winner

• Ma nuit chez Maud (1969)
  • Cannes Film Festival Official Selection^[16]
  • 42nd Academy Awards Best Foreign Language Film Nominee^[1]
  • 43rd Academy Awards Best Original Screenplay Nominee

• Le Genou de Claire (1970)
  • Louis Delluc Prize

• La Marquise d'O... (1976)
  • Cannes Film Festival Grand Prize of the Jury Winner

• Pauline à la plage (1983)
  • Berlin Film Festival Silver Bear for Best Director^[17]
  • Berlin Film Festival OCIC Award Winner - Honorable Mention
  • Berlin Film Festival FIPRESCI Prize Winner - Competition

• Le Rayon vert (1986)
  • Venice Film Festival Golden Lion Winner
  • Venice Film Festival FIPRESCI Prize Winner

• Conte d'hiver (1992)
  • Berlin Film Festival^[18] FIPRESCI Prize Winner - Competition
  • Berlin Film Festival Prize of the Ecumenical Jury Winner - Special Mention - Competition

• Conte d'automne (1998)
  • Venice Film Festival Golden Osella Winner - Best Original Screenplay
  • Venice Film Festival Sergio Trasatti Award - Special Mention

• Triple Agent (2004)
  • Berlin Film Festival Official Selection

Filmography[link]

Features[link]

• 1959 Sign of Leo
• 1967 The Collector
• 1969 My Night at Maud's
• 1970 Claire's Knee
• 1972 Love in the Afternoon
• 1976 The Marquise of O...
• 1978 Perceval
• 1980 Catherine de Heilbronn
• 1981 The Aviator's Wife
• 1982 A Good Morning
• 1983 Pauline at the Beach
• 1984 Full Moon in Paris
• 1986 The Green Ray
• 1987 My Girlfriend's Boyfriend
• 1987 Le trio en si bémol
• 1987 Four Adventures of Reinette and Mirabelle
• 1990 A Tale of Springtime
• 1992 A Tale of Winter
• 1993 The Tree, The Mayor, and the Mediatheque
• 1995 Rendezvous in Paris
• 1996 A Tale of Summer
• 1998 A Tale of Autumn
• 2000 The Lady And The Duke
• 2004 Triple Agent
• 2007 Romance of Astree and Celadon

References[link]

Bibliography[link]

• Montero, José Francisco & Paredes, Israel. Imágenes de la Revolución. La inglesa y el duque/La commune (París, 1871). 2011. Shangrila Ediciones. http://shangrilaedicionesblog.blogspot.com/2011/10/imagenes-de-la-revolucion-intertextos.html

External links[link]

• Éric Rohmer at the Internet Movie Database
• extensive biography of Eric Rohmer
• Éric Rohmer at AlloCiné (French)
• Éric Rohmer — critical essay at Kamera
• Interview with 'The French Revolutionary - Eric Rohmer
• Tom Milne Obituary: Eric Rohmer, The Guardian, 11 January 2010
• Christopher Hawtree "Eric Rohmer: Prolific film-maker, critic and novelist whose pioneering work homed in on romantic tangles", The Independent, 13 January 2010
• "Eric Rohmer: director whose films included Le genou de Claire", The Times, 12 January 2010
• "On Eric Rohmer" in memoriam from n+1
• "The Grave of Eric Rohmer (Maurice Scherer), Montparnasse Cemetery, Paris.",.