robert bresson, the unsayable
journal d'un curé de campagne 1951, photographed by léonce-henri burelthe domain of cinematography is the domain of the unsayable**(robert bresson from le monde, march 14, 1967 found in robert bresson: a spiritual style in film by joseph cunneen, 2003)
robert bresson, léonce-henri burel, cinematographer
robert bresson, procès de jeanne d'arc 1962opening sequence (single shot, 1 minute 15 seconds)cinematography by léonce-henri burel (1892-1977) *burel worked with directors including abel gance, jacques feyder, jean renoir, and robert bresson.robert bresson & léonce-henri burel:-journal d'un curé de campagne 1951-un condamné à mort s'est échappé ou le vent souffle où il veut 1956-pickpocket 1959-
robert bresson, francis ponge, a correspondingly particular sound
ciment: do you like poets like francis ponge? your films remind one of him, and his le parti pris des choses.bresson: yes. i no longer see ponge, unfortunately, as he has moved to the south. he wrote me some remarkable letters about my films and about cinema. i like his fondness for objects, for inanimate things.*rainin the courtyard where i watch it fallthe rain is coming down in widely varied
robert bresson, and sound
about his use of sound in l'argent, the director thinks that "while music flattens a surface, makes it into an image," sound, on the contrary, "lends space, relief. it arrives and the screen deepens, thus bringing on the third dimension".* the idea is that one must never duplicate an image with a sound ("a sound must never come to the aid of an image, nor an image to the aid of a sound....the
robert bresson, samuel fuller, jean-pierre melville & trains in cinema
train travel in:-samuel fuller's pickup on south street, 1953 (aka pickpocket)-robert bresson's pickpocket, 1959-jean-pierre melville's le samouraï, 1967(all films comprise a certain criminal activity in the underground)abstractions from samuel fuller's pick-up on south street, 1953(dp. joseph macdonald *)moments from robert bresson's pickpocket, 1959(dp. léonce-henri burel)abstractions from
robert bresson, andrei tarkovsky, very few means of expression
while doing roublev i forced myself to be very hard and very dry, tending towards a sort of olympic calm that, for me, is the major quality of the art of directing a film. so i might as well as tell you that i'm very fond of bresson. page 30in paris, i have asked to meet bresson. we have nothing in common, but he's one of the best directors i know. i want to see him, to see his face, to see how
robert bresson, filmography
une femme douce 1969(including cinematography, music and writing)-journal d'un curé de campagne 1951cinematography by léonce-henri burelmusic by jean-jacques grünenwaldfrom the novel by georges bernanos (journal d'un curé de campagne, 1936)screenplay by robert bresson-un condamné à mort s'est échappé ou le vent souffle où il veut 1956cinematography by léonce-henri burelmusic by wolfgang amadeus
robert bresson, léonce-henri burel, jacques becker, ghislain cloquet, sans personnes
robert bresson, un condamné à mort s'est échappé, 1956(kiefer)(beuys)jacques becker, le trou, 1960two prison escape films,(moments without human presence)-robert bresson, un condamné à mort s'est échappé ou le vent souffle où il veut (aka a man escaped), 1956 (dp. léonce-henri burel)-jacques becker, le trou, 1960 (dp. ghislain cloquet, bresson's cinematographer for au hasard balthazar 1966,
robert bresson, pickpocket, our hero through glass
robert bresson, pickpocket, 1959 ("about people standing behind glass doors and looking in" jonas mekas)
robert bresson, jonas mekas, about unfinished playing records
..... a film about diagonals. diagonal angels, diagonal glances. about eyes that never really meet. a film without a single frontal shot. a film about three-quarter spaces. about the sound of closing doors. about the sound of footsteps. about the sound of things. about the sound of water. about shy glances. about unfinished glances. about the sound of glass. about death in our midst. about light
robert bresson, anatomy of a crime (in the manner of a pickpocket)
(lessons in the cafe)(our hero and his accessory)(our hero pickpocketing a watch)(trainstation segment)from robert bresson's pickpocket, 1959"bresson distilled the motion picture narrative down to a particular essence. bresson's movies are looks and gestures and precisely arranged sounds" j hoberman frontispiece from the memoirs of george barrington, 1790see alsor. s. lambert, prince of
robert bresson, georges bernanos, nouvelle histoire de mouchette
the dark west wind, the sea wind, was already scattering the voices in the darkness. it toyed with them a moment and then lifted them all together, dispersing them with an angry roar. the voice which mouchette had just heard hovered in the air a long time, like a dead leaf floating interminably.her secret was not one which could be shared, for it was connected with so many different things. it
the good wound
Among the great tragedies of childhood, De Quincey included that of the little boy's lips forever separated from his sister's kisses. Men with no sisters also share in this tragedy. Gloomy, incessant death of the sister in Munch's paintings. (Without a dead sister, abandoned lifeless at the foot of a distant staircase, a man cannot rediscover in the dark his sister's lips, the good wound happy to
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