Notes on the Cinematographer has ratings and reviews. Mariel said: Robert Bresson Notes on the Cinematographer is my philosophy book or self-he. Notes on the Cinematographer is a book by the French filmmaker Robert Bresson. It collects Bresson’s reflections on cinema written as short aphorisms. Notes on. Cinematography. Robert Bresson. Translated by Jonathan Griffin. Urizen Books As will become clear, “cinematography” for Bresson has the special.

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Here is part two with selected quotes from his book.

Notes on the Cinematograph by Robert Bresson review – the art of film

At this point, filmslie. It somehow seems to resemble the formality and coldness of his films.

On the boards, acting adds to real presence, intensifies it. In films, acting does away bresskn even the semblance of real presence, kills the illusion created by the photography.

Bresaon one seems to be key for Bresson, whose movies put the emphasis on the subjects and the personalities rather than the environment.


Bresson often prefers shallow focus and close-ups. In contrast, the French director Jacques Tati did the opposite: It is a matter of style of and artistic choice.

Bresson was no less interested in the universal themes, but he chose to explore them through particular examples of individuals, while Tati examined the themes as they recur in a series of characters, none of them main, and most of them name-less.

Cinematographic film, where the images, like the words in teh dictionary, have no power and value except through their position and relation. The other images will have no power over it, and it will have no power over the other images. Neither action, nor reaction. A system does not regulate everything. It is a bait for something. No absolute value in an image.

Notes on the Cinematograph by Robert Bresson review – the art of film | Books | The Guardian

Images and sounds will owe their value and their power solely to the use to which you destine them. The cinematographer is making a voyage of discovery on a unknown planet.

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See your film as a surface to cover. Here Robert Bresson talks about the physicality of film, which was one of the major themes for experimental filmmaker Hollis Frampton nnotes, most notably in Poetic Justice.

Notes on the Cinematographer – Wikipedia

It forms for itself knots of force, of security to which all the rest clings. Unlike cinematography, looking for a truth in the real is fatal in the theater. Here Bresson once again ponders over the different ways cinema and theater represent reality. Theater seems to be inherently unrealistic and therefore by definition requires suspension of disbelief, while cinema achieves its representation by using the projected images of a real horse.

To call upon the artifice of cinema, Lars von Trier used the theatrical narrative technique Verfremdungseffekt in his latest movie Nymphomaniac.