Joe brother, I look up to his films and his ideas and the genius of understanding CINEMA. Can you tell me 3 reasons why do you think he's a genius and what have you learned from it. Reply only if you want to. Thanks
The only thing wrong in the subtitles is putting the quotation marks around the word "cinematography". First of all, it's cinematograph, not cinematography, and secondly, no quotes. Bresson used the word "cinematograph" (no quotes) to describe what he considered the real (authentic) cinema. He avoided the word "cinema" because it denoted stage-theatre-derived film art. BTW, these are tiny clips, the whole thing is _much_ longer.
@@pratishtha1437 It's in the supplements for one of the Bresson Criterion DVDs or Blu-rays, I forget which one. Have you read Bresson's book "Notes on the Cinematographer"? (Seems everyone is struggling with translating the word correctly, I don't know why.) It's a very small book, more like a breviary, full of little notes and aphorisms. Here are a few examples: "BEING (models) instead of SEEMING (actors)". "Movement from the exterior to the interior. (Actors: movement from the interior to the exterior.) "CINEMA films are historical documents whose place is in the archives: how a play was acted in 19.. by Mr. X, Miss Y." "A film cannot be a stage show, because a stage show requires flesh-and-blood presence. But it can be, as photographed theatre or CINEMA is, the photographic reproduction of a stage show. The photographic reproduction of a stage show is comparable to the photographic reproduction of a painting or of a sculpture. But a photographic reproduction of Donatello's _Saint John the Baptist_ or of Vermeer's _Young Woman with Necklace_ has not the power, the value or the price of that sculpture or that painting. It does not create it. Does not create anything." "Shooting. Stick exclusively to impressions, to sensations. No intervention of intelligence which is foreign to these impressions and sensations." "Your models, pitched into the action of your film, will get used to 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. [...]"
@@JanPBtest Oh my! How incredibly kind of you. Misery is I haven't read ''Notes on the cinematographer'', but I certainly will one day, I must. There is so much to do, so much to learn, so many more films to watch, but not much time on hands. Anyways, thank you again.
@@pratishtha1437 You're welcome! What's interesting is that no other director that I know of used Bresson's method. Stanley Kubrick liked repeating takes ad nauseam but he wasn't focusing on getting any instinctive effect, only on getting the "performance" "better". OTOH Luis Buñuel whose films can hardly be called "filmed theatre" did only one to three takes on average, and then would edit the whole film in a few _days._ There are many shades of mastery.
@@JanPBtest I agree. There are indeed many shades of mastery. And although Bresson and Ozu used a motley of methods, methods that were distinctively of their own, and methods that were disparate, they still are the most closely bound by their shared approach of 'cinema' or as Bresson would say, 'cinematograph' as a humanistic media.
Hell, that was intense.
A genius of the highest order. Bresson forged a unique cinema
Lovely
A visionary genius
Joe brother, I look up to his films and his ideas and the genius of understanding CINEMA. Can you tell me 3 reasons why do you think he's a genius and what have you learned from it. Reply only if you want to. Thanks
There is no one provoked more in their own beliefs than Bresson.
The only thing wrong in the subtitles is putting the quotation marks around the word "cinematography". First of all, it's cinematograph, not cinematography, and secondly, no quotes. Bresson used the word "cinematograph" (no quotes) to describe what he considered the real (authentic) cinema. He avoided the word "cinema" because it denoted stage-theatre-derived film art. BTW, these are tiny clips, the whole thing is _much_ longer.
Thank you clearing it out, I was wondering why he doesn't say 'cinema'. Also, would you be so kind to tell as to where I can find the complete thing?
@@pratishtha1437 It's in the supplements for one of the Bresson Criterion DVDs or Blu-rays, I forget which one. Have you read Bresson's book "Notes on the Cinematographer"? (Seems everyone is struggling with translating the word correctly, I don't know why.) It's a very small book, more like a breviary, full of little notes and aphorisms. Here are a few examples:
"BEING (models) instead of SEEMING (actors)".
"Movement from the exterior to the interior. (Actors: movement from the interior to the exterior.)
"CINEMA films are historical documents whose place is in the archives: how a play was acted in 19.. by Mr. X, Miss Y."
"A film cannot be a stage show, because a stage show requires flesh-and-blood presence. But it can be, as photographed theatre or CINEMA is, the photographic reproduction of a stage show. The photographic reproduction of a stage show is comparable to the photographic reproduction of a painting or of a sculpture. But a photographic reproduction of Donatello's _Saint John the Baptist_ or of Vermeer's _Young Woman with Necklace_ has not the power, the value or the price of that sculpture or that painting. It does not create it. Does not create anything."
"Shooting. Stick exclusively to impressions, to sensations. No intervention of intelligence which is foreign to these impressions and sensations."
"Your models, pitched into the action of your film, will get used to 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. [...]"
@@JanPBtest
Oh my! How incredibly kind of you. Misery is I haven't read ''Notes on the cinematographer'', but I certainly will one day, I must. There is so much to do, so much to learn, so many more films to watch, but not much time on hands. Anyways, thank you again.
@@pratishtha1437 You're welcome! What's interesting is that no other director that I know of used Bresson's method. Stanley Kubrick liked repeating takes ad nauseam but he wasn't focusing on getting any instinctive effect, only on getting the "performance" "better". OTOH Luis Buñuel whose films can hardly be called "filmed theatre" did only one to three takes on average, and then would edit the whole film in a few _days._ There are many shades of mastery.
@@JanPBtest
I agree. There are indeed many shades of mastery. And although Bresson and Ozu used a motley of methods, methods that were distinctively of their own, and methods that were disparate, they still are the most closely bound by their shared approach of 'cinema' or as Bresson would say, 'cinematograph' as a humanistic media.
Why must you remind us of the value that a service soon to be taken from us provides?!
They're just doing/finishing their job
They'll release an streaming service apart from TCM and Warner
very interested waht Bresson thought of Kung Fu films and Sergio Leone
He’d probably like them. He did like James Bond (he took his nieces to see it).
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