forest notes

lumen * w/ 2 contributions by art of memory correspondent- trees as wind instruments in bresson’s mouchette- it is something invisible by matthew swiezynski

polish reviews

bresson on artificial eye

robert bresson, olivier messiaen, i listen to my films as i make them

the composer olivier messiaen comes to mind as the closest parallel to bresson in the other arts. a devout catholic, the organist of the trinité in paris, messiaen has always been a radical modernist and a seminal figure in the evolution of modern music (in addition to his compositions, he deserves the credit of teaching stockhausen and boulez). nevertheless, the material of messiaen's art,

robert bresson, murder sequence from l'argent

robert bresson, l'argent, 1983cinematography by pasqualino de santis and emmanuel machuelediting by jean-françois naudonfirst and last frame of each shot from bresson's murder sequence.shot 1.1.16.28 - 1.16.58shot 21.16.59 - 1.17.14shot 31.17.15 - 1.17.25shot 41.17.26 - 1.17.36shot 51.17.37 - 1.17.43shot 61.17.44 - 1.17.45shot 71.17.46 - 1.17.47shot 81.17.48 - 1.17.49shot 91.17.49 - 1.17.56shot

robert bresson, given by the eyes of john cage

radically suppress intentions in your models.*not to use two violins when one is enough.*no intellectual or cerebral mechanism. simply a mechanism.*hide the ideas, but so that people find them. the most importantwill be the most hidden.*all those effects you can get from repitition (of an image, of a sound).*practice the precept: find without seeking.*to translate the invisible wind by the

robert bresson, ingmar bergman, free from all impurities

coffee in mouchettei felt a strong affinity with bernanos' and bresson's mouchette. it's a film i would have liked to have made myself, but which i didn't understand. in mouchette the motif is expressed clearly and explicitly, free from all impurities. the girl in mouchette and the girl in the devil's wanton are sisters, sisters in two similar worlds.but while the devil's wanton is full of

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

robert bresson, the eye solicited alone makes the ear impatient, the ear solicited alone, makes the eye impatient

(some books related to robert bresson):-robert bresson by rené briot, editions de cerf, 1957-bresson by jean semolue, editions universitaires, 1959-the early work of robert bresson by richard roud, found in film culture, no. 20, 1959-robert bresson by michel estève (#8 in the cinema d'aujourd'hui series), editions sehers, 1962-the films of robert bresson edited by ian cameron, praeger, 1969-the

robert bresson, ghislain cloquet, de l'autre côté du miroir

through glass, au hasard balthazar 1966though glass, mouchette (or, little fly), 1967au hasard, balthazar & mouchette, through glass.cinematography by ghislain cloquet (1924 - 1981), the belgian-born french cinematographer.cloquet studied film at école national de photographie et cinématographie, and idhec (l'institut des hautes études cinématographiques)."for au hasard, balthazar, bresson would