The Dynamics of Suffering for the Christian: God Is Up to Something!, Bresson Richard L.

Автор: Cunneen
Название: Robert Bresson
ISBN: 0826416055 ISBN-13(EAN): 9780826416056
Издательство: Bloomsbury
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Описание: Although Bresson is widely regarded as one of the greatest directors of the 20th century, his films are rarely shown in the English-speaking world. This book introduces his movies to a broader audience and assesses 13 of his most significant films in the context of detailed plot summaires, vivid character descriptions and settings.

Автор: Bresson H C
Название: Henri Cartier-Bresson: A Propos De Paris
ISBN: 0821224964 ISBN-13(EAN): 9780821224960
Издательство: Hachette Book Group
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Автор: Curran, Beth Kathryn (Author), Alvarez-Detrell, Ta
Название: Touching God: The Novels of Georges Bernanos in the Films of Robert Bresson
ISBN: 0820478261 ISBN-13(EAN): 9780820478265
Издательство: Peter Lang
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Описание: Robert Bresson (1901-1999), one of the most original film-makers in the history of cinema, adapted two novels by Georges Bernanos (1888-1948), Journal d'un cur de campagne and Nouvelle Histoire de Mouchette. The Catholic novelist Bernanos and the spiritual filmmaker Bresson, each in his own way, articulate grace and redemption through the suffering and death of their heroes/heroines. As a result, the reader and the spectator come to sense the presence of God in all four works. Bresson's techniques are presented and analyzed, as well as his later move to films without grace and redemption.

Автор: Bresson Robert
Название: Notes on the Cinematograph
ISBN: 1681370247 ISBN-13(EAN): 9781681370248
Издательство: Random House (USA)
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Описание: A key influence on the French New Wave and the director of such iconic works as "Pickpocket "and "A Man Escaped," Robert Bresson is one of the central figures of French cinema. "Notes on the Cinematograph "is not only his definitive treatise on film its inherent peculiarity and potential but an ascetic meditation on how art transcends, and is transformed by, the senses.
Bresson upends inherited truths with empirical ones, calling for film to divest itself of the trappings of theater in order to come into its own as an art form. While theater is capable of simulation, film can capture immanent being. Therefore, he argues, the two forms are innately at odds: No marriage of theater and cinematography without both being exterminated.
To this end, Bresson rechristens his actors models and conducts them through grueling shoots where they repeat their lines and movements until he deems them vacant of actorly intention and charged, instead, with inscrutability: A model. Enclosed in his mysterious appearance. He has brought home to him all of him that was outside. He is there, behind that forehead, those cheeks. "