Start your review of Notes on the Cinematographer Write a review Oct 03, Mariel rated it it was amazing Recommends it for: eeyore without tail Recommended to Mariel by: an actor will seek revenge Robert Bresson Notes on the Cinematographer is my philosophy book or self-help book for putting things together in what I feel, or need, to be real in stories, images, moments. These are notes that Bresson jotted down to himself, pretty much. One thing I am not is a clear thinker. I hope for inspiration from someone so inspired. I feel inspired watching his films. Unfortunately, I think like pulling from the toppermost of my mental soils, seldom going down to the roots or allowing for future harvests.
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Thus what Bresson sees as the essence of filmic art, the achievement of the creative transformation involved in all art through the interplay of images of real things, is destroyed by the artifice of acting. For Bresson, then, acting is, like mood music and expressive camera work, just one more way of deforming reality or inventing that has to be avoided.
Indeed, of an earlier protagonist he said, "Mouchette offers evidence of misery and cruelty. She is found everywhere: wars, concentration camps, tortures, assassinations. For him, cinematography is the higher function of cinema.
While a movie is in essence "only" filmed theatre, cinematography is an attempt to create a new language of moving images and sounds. Legacy[ edit ] Bresson is often referred to as a patron saint of cinema, not only for the strong Catholic themes found throughout his oeuvre, but also for his notable contributions to the art of film.
However, his uncompromising stance has been extremely influential in some quarters. His theories about film greatly influenced other filmmakers, particularly the French New Wave directors. New Wave pioneers often praised Bresson and posited him as a prototype for or precursor to the movement.
However, Bresson was neither as overtly experimental nor as outwardly political as the New Wave filmmakers, and his religious views Catholicism and Jansenism would not have been attractive to most of the filmmakers associated with the movement. All the better French cinema has and will have to connect to Bresson in some way. Andrei Tarkovsky  held Bresson in very high regard, noting him and Ingmar Bergman as his two favourite filmmakers, stating "I am only interested in the views of two people: one is called Bresson and one called Bergman".
Robert Bresson’s Notes on Cinematography
I have given Notes on Cinematography to the people I care about the most. The people who truly love film, love art and love life for all the right reasons. Please do the same. Bresson at this time has completed six of his most well known films and is in the process of shooting Au Hasard Balthazar. Ranging over topics from the inspiration behind his films, to his ideas on the use of sound, actors, editing and music, and the state of the then contemporary cinema from James Bond to the New Wave , Bresson describes his singular approach to filmmaking.
Robert Bresson wrote a slim volume of his thoughts on cinema called Notes on Cinematographer which defies categorisation. What is striking and unique about Bresson is how his writing is so much like his filmmaking: the elliptical style, the epigrammatic prose, the obtuse meanings, the material rigidity, the conciseness, the frugality of means. It is all there in both his work and his words. Andrei Tarkovsky, whose own work of film philosophy Sculpting in Time is among one of the finest written by a filmmaker, admitted that not all of the aesthetic and theoretical ideals he writes about were consummated in his film work. The only filmmaker whom he felt did match up with his theoretical ideal was Bresson. Mechanized outwardly, Intact, virgin within Bresson, An actor needs to get out of himself in order to see himself in the other person.