Robert Bresson makes some quite radical distinctions between what he terms "cinematography" and something quite different: "cinema"—which is for him nothing but an attempt to photograph theater and use it for the screen. Director of The Trial of Joan of Arc, Pickpocket, A Prisoner Escapes, Diary of a Country Priest, Money, and many other classic films, Robert Bresson is, quite simply, one of the most brilliant cinematographers in the history of film.

Notes on the Cinematographer (Quartet Encounters)

Bresson, Robert

Humor & Entertainment

Quartet Books Ltd.

Robert Bresson's NOTES ON CINEMATOGRAPHY are working memos that the great French director made for his own use. In all of them, Bresson reflects with a craftsman's insight on techniques - and beyond techniques to their philosophical and aesthetic implications. Not surprisingly, these acute reflections will not only sharpen a filmmaker's sensibility, but that of any artist in any medium. Bresson makes some radical distinctions between what he terms "cinematography" and something quite different: "cinema" - which for him is nothing but an attempt to photograph theater and use it for the screen.

Notes on Cinematography

Urizen Books ; [distributed by

FROM THE PUBLISHER: Robert Bresson's Notes on Cinematography are working memos that the great French director made for his own use. In all of them, Bresson reflects with a craftsman's insight on techniques - and beyond techniques to their philosophical and esthetic implications. Not surprisingly, these acute reflections will not only sharpen a filmmaker's sensibility, but that of any artist in any medium. Bresson makes some radical distinctions between what he terms "cinematography" and something quite different: "cinema" - which for him is nothing but an attempt to photograph theater and use it for the screen. This book is translated into English from the French by Jonathan Griffin.

Urizen Books

Notes on the Cinematographer (Green Integer)

Movies

Green Integer

The French film director Robert Bresson was one of the great artists of the twentieth century and among the most radical, original, and radiant stylists of any time. He worked with nonprofessional actors—models, as he called them—and deployed a starkly limited but hypnotic array of sounds and images to produce such classic works as A Man Escaped, Pickpocket, Diary of a Country Priest, and Lancelot of the Lake. From the beginning to the end of his career, Bresson dedicated himself to making movies in which nothing is superfluous and everything is always at stake. Notes on the Cinematograph distills the essence of Bresson’s theory and practice as a filmmaker and artist. He discusses the fundamental differences between theater and film; parses the deep grammar of silence, music, and noise; and affirms the mysterious power of the image to unlock the human soul. This book, indispensable for admirers of this great director and for students of the cinema, will also prove an inspiration, much like Rilke’s Letters to a Young Poet, for anyone who responds to the claims of the imagination at its most searching and rigorous.

Notes on the Cinematograph (New York Review Books Classics)

Literature & Fiction

Dramas & Plays

NYRB Classics

Robert Bresson, the director of such cinematic master-pieces as Pickpocket, A Man Escaped Mouchette, and L’Argent, was one of the most influential directors in the history of French film, as well as one of the most stubbornly individual: He insisted on the use of nonprofessional actors; he shunned the “advances” of Cinerama and Cinema-Scope (and the work of most of his predecessors and peers); and he minced no words about the damaging influence of capitalism and the studio system on the still-developing—in his view—art of film. Bresson on Bresson collects the most significant interviews that Bresson gave (carefully editing them before they were released) over the course of his forty-year career to reveal both the internal consistency and the consistently exploratory character of his body of work. Successive chapters are dedicated to each of his fourteen films, as well as to the question of literary adaptation, the nature of the sound track, and to Bresson’s one book, the great aphoristic treatise Notes on the Cinematograph. Throughout, his close and careful consideration of his own films and of the art of film is punctuated by such telling mantras as “Sound...invented silence in cinema,” “It’s the film that...gives life to the characters—not the characters that give life to the film,” and (echoing the Bible) “Every idle word shall be counted.” Bresson’s integrity and originality earned him the admiration of younger directors from Jean-Luc Godard and Jacques Rivette to Olivier Assayas. And though Bresson’s movies are marked everywhere by an air of intense deliberation, these interviews show that they were no less inspired by a near-religious belief in the value of intuition, not only that of the creator but that of the audience, which he claims to deeply respect: “It’s always ready to feel before it understands. And that’s how it should be.”

Bresson on Bresson: Interviews, 1943-1983

New York Review Books

Now in paperback, a collection of interviews with a French cinematic titan—covering subjects such as adaptation, the effects of capitalism on art, and the importance of intuition—selected from a period of four decades.\nRobert Bresson, the director of such cinematic masterpieces as Pickpocket, A Man Escaped, Mouchette, and L’Argent, was one of the most influential directors in the history of French film, as well as one of the most stubbornly individual: He insisted on the use of nonprofessional actors; he shunned the “advances” of Cinerama and CinemaScope (and the work of most of his predecessors and peers); and he minced no words about the damaging influence of capitalism and the studio system on the still-developing—in his view—art of film.\nBresson on Bresson collects the most significant interviews that Bresson gave (carefully editing them before they were released) over the course of his forty-year career to reveal both the internal consistency and the consistently exploratory character of his body of work.\nSuccessive chapters are dedicated to each of his fourteen films, as well as to the question of literary adaptation, the nature of the soundtrack, and to Bresson’s one book, the great aphoristic treatise Notes on the Cinematograph. Throughout, his close and careful consideration of his own films and of the art of film is punctuated by such telling mantras as “Sound...invented silence in cinema,” “It’s the film that...gives life to the characters—not the characters that give life to the film,” and (echoing the Bible) “Every idle word shall be counted.”\nBresson’s integrity and originality earned him the admiration of younger directors from Jean-Luc Godard and Jacques Rivette to Olivier Assayas. And though Bresson’s movies are marked everywhere by an air of intense deliberation, these interviews show that they were no less inspired by a near-religious belief in the value of intuition, not only that of the creator but that of the audience, which he claims to deeply respect: “It’s always ready to feel before it understands. And that’s how it should be.”

Notes sur le cinématographe

Genre Fiction

Gallimard]

«Ces mots sont plus que des notes de journal d'un réalisateur expérimenté. Ces mots sont des cicatrices, des marques de souffrance, des joyaux. Dans notre nuit (la nuit de la création qui doit nécessairement venir pour que s'allume l'écran), ils brillent comme des étoiles, nous montrant le simple et difficultueux chemin vers la perfection.»J.M.G. Le Clézio.

Notes sur le cinematographe

Contemporary

Фоліо

Notas sobre el cinematógrafo

Ardora Ediciones

See the best price to sell, buy, or rent books by Bresson, Robert. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Bresson, Robert

See the best price to sell, buy, or rent books by Bresson, Robert. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Notes on the Cinematographer (Quartet Encounters)

Notes on Cinematography

Notes on Cinematography

Notes on the Cinematographer (Green Integer)

Notes on the Cinematograph (New York Review Books Classics)

Bresson on Bresson: Interviews, 1943-1983

Bresson on Bresson: Interviews, 1943-1983

Notes sur le cinématographe

Notes sur le cinematographe

Notas sobre el cinematógrafo