TCF340/Cinema Ascetic: Robert Bresson (Discussion) - Revision history

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Jeremy Butler at 15:41, 23 October 2012

2012-10-23T15:41:54Z

Jeremy Butler at 15:39, 23 October 2012

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Jeremy Butler at 15:38, 23 October 2012

2012-10-23T15:38:38Z

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Jeremy Butler at 15:26, 23 October 2012

2012-10-23T15:26:28Z

Jeremy Butler at 15:21, 23 October 2012

2012-10-23T15:21:36Z

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'''Actors vs. Models'''
*"BEING (models) instead of SEEMING (actors)." (1)
*"Movement from the exterior to the interior. (Actors: movement from the interior to the exterior." (2)
*"Radically suppress ''intentions'' in your models." (8)

'''Cinematography'''
*"CINEMATOGRAPHY IS A WRITING WITH IMAGES IN MOVEMENT AND WITH SOUNDS." (2)
*"Cinematographic film, where expression is obtained by relations of images and sounds, and not by a mimicry done with gestures and intonations of voice (whether the actors' or non-actors'). One that does not analyze or explain. That ''recomposes''." (5)

'''Automatism'''
*"Nine-tenths of our movements obey habit and automatism. It is anti-nature to subordinate them to will and to thought." (11)
*"Models who have become automatic (everything weighed,measured, timed, repeated ten, twenty times) and are then dropped in the middle of the events of your film--their relations with the objects and persons around them will be ''right'', because they will not be ''thought''." (12)
*"Your models, pitched into the action of your film, will get used to the gestures they have repeated twenty times. The words they have learned with their lips will find, ''without their minds' taking part in this'', the inflections and the lilt proper to their true natures. A way of recovering the automatism of real life." (32; not part of the assigned reading)

==Bibliography==
*Bresson, Robert. ''Notes on Cinematography''. Translated by Jonathan Griffin. NY: Urizen, 1977

==External links==

[[Category:TCF340 Discussion]]

@@ Line 19: / Line 19: @@
 '''Opening Text (possibly ''not'' included by Bresson)'''
-:The style of this film is not that of a thriller. Using image and sound, the filmmaker strives to express the nightmare of a young man whose weaknesses lead him to commit acts of theft for which nothing destined him. However, this adventure, and the strange paths it takes, bring together two souls that may otherwise never have met."
+:"The style of this film is not that of a thriller. Using image and sound, the filmmaker strives to express the nightmare of a young man whose weaknesses lead him to commit acts of theft for which nothing destined him. However, this adventure, and the strange paths it takes, bring together two souls that may otherwise never have met."
 Obviously, ''Pickpocket'' is not a conventional thriller. How does it break the rules of the thriller genre and of classical cinema in general
+?
 ==Bibliography==

@@ Line 17: / Line 17: @@
 What scenes in ''Pickpocket'' seem to illustrate this sort of "recomposing"?
-'''Opening graphic'''
+'''Opening Text (possibly ''not'' included by Bresson)'''
 :The style of this film is not that of a thriller. Using image and sound, the filmmaker strives to express the nightmare of a young man whose weaknesses lead him to commit acts of theft for which nothing destined him. However, this adventure, and the strange paths it takes, bring together two souls that may otherwise never have met."

@@ Line 17: / Line 17: @@
 What scenes in ''Pickpocket'' seem to illustrate this sort of "recomposing"?
-How does ''Pickpocket'' break the rules of classical cinema?
+'''Opening graphic'''
 ==Bibliography==

← Older revision		Revision as of 15:35, 23 October 2012
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	==External links==		==External links==
		+	*[http://shotlogger.org/TitleListDetail.php?recordID=671 Shot Logger frame captures and data]
		+	*[http://www.tcf.ua.edu/EO/DV/ManEscaped.htm Video clips from ''A Man Escaped'' and ''Pickpocket''.]

	[[Category:TCF340 Discussion]]		[[Category:TCF340 Discussion]]

← Older revision		Revision as of 15:26, 23 October 2012
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−	~~Did~~ the performances in ''Pickpocket''--especially Martin LaSalle as Michel--seem different from conventional films? Is he a "model" instead of an "actor"? Did his performance seem "automatic"?	+	Do the performances in ''Pickpocket''--especially non-professional Martin LaSalle as Michel--seem different from conventional films? Is he a "model" instead of an "actor"? Did his performance seem "automatic"?

	'''Actors vs. Models'''		'''Actors vs. Models'''

← Older revision	Revision as of 21:31, 14 August 2019
(No difference)

← Older revision		Revision as of 15:21, 23 October 2012
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	What scenes in ''Pickpocket'' seem to illustrate this sort of "recomposing"?		What scenes in ''Pickpocket'' seem to illustrate this sort of "recomposing"?
		+
		+	How does ''Pickpocket'' break the rules of classical cinema?

	==Bibliography==		==Bibliography==

@@ Line 1: / Line 1: @@
 '''Actors vs. Models'''
 *"BEING (models) instead of SEEMING (actors)." (1)
 *"Movement from the exterior to the interior. (Actors: movement from the interior to the exterior." (2)
 *"Radically suppress ''intentions'' in your models." (8)
 '''Cinematography'''
@@ Line 8: / Line 15: @@
 *"Cinematographic film, where expression is obtained by relations of images and sounds, and not by a mimicry done with gestures and intonations of voice (whether the actors' or non-actors'). One that does not analyze or explain. That ''recomposes''." (5)
-'''Automatism'''
+What scenes in ''Pickpocket'' seem to illustrate this sort of "recomposing"?
 ==Bibliography==