A number of writers have attempted to capture Robert Bressonas style as well as his substance with such terms as aminimalist, a aaustere, a qascetic, q aelliptical, a aautonomous, a apure, a even agentle.q Most famously, Paul Schrader once called Bressonas films atranscendental, a while Susan Sontag described them as aspiritual.a Both these critics thus extended in anglicized form a tendency that had early been dominant in Bresson criticism in France: the attempt, made by such Catholic writers as AndrAc Bazin, Henri Agel, Roger Leenhardt, and AmAcdAce Ayfre, to understand Bresson's work in religious terms, seeing his camera as a kind of god and the material world as (paradoxically) a thing of the spirit. That attempt, in Sontagas essay, led to the introduction of Bresson to the New York-based avant-garde of the 1960s and 1970s, whose filmsasuch as Richard Serraas Hand Catching Lead (1968), for oneashow the influence of the French directoras severe, reductivist style. Jean-Luc Godard, of course, needed no such critical introduction to Robert Bresson, for, in his iconoclasm and integrity, in his rejection of the Gallic aCinAcma du Papaa as well as in his embrace of film as an independent art, Bresson was one of the heroes of the young directors who constituted the French New Wave in the early 1960s. So much so that Godard was moved to say in Cahiers du cinAcma in 1957 that aBresson is French cinema, as Dostoyevsky is the Russian novel and Mozart is German music.q The result is that Bresson has undeniably influenced a slew of contemporary European filmmakers, including Chantal Akerman, Olivier Assayas, Laurent Cantet, Alain Cavalier, Jean-Pierre and Luc Dardenne, Claire Denis, Jacques Doillon, Bruno Dumont, Michael Haneke, BenoArt Jacquot, and Maurice Pialat--not to speak of his influence on Asian and American cinema. Bresson and Others: Spiritual Syle in the Cinema is an attempt to document this influence through essays on fifteen international directors who followed in Bresson's wake, who in fact may have influenced him (Carl Dreyer), or who contemporaneously worked veins similar to those found in Bresson's films (Ingmar Bergman, Yasujiro Ozu). These essays are preceded by an introduction to the cinema of Robert Bresson and followed by film credits, a bibliography of criticism, and an index. The subject of Bresson and Others, then, may specifically be Bressonian cinema, but, in a general sense, it could also be said to be spirit and matter--or film and faith.Spiritual Style in the Cinema Bert Cardullo ... Bolton, Ontario: H. B. Fenn aamp; Co., 2004. Butler, Ivan. Religion in the Cinema. New York, A. S. Barnes, 1969. Cawkwell, Tim. The Filmgoera#39;s Guide to God. ... Burlington, Vermont: Ashgate, 2003.
|Title||:||Bresson and Others|
|Publisher||:||Cambridge Scholars Publishing - 2009-05-05|