00942nam0-22003371i-450-99000111868040332120040524163837.0981-02-0437-X000111868FED01000111868(Aleph)000111868FED0100011186820020001d--------km-y0itay50------baengDynamical systemsCollection of papersEditor Ya.G. SinaiSingapore [etc.]World Scientific1991Advanced series in nonlinear dynamics1Geometria algebricaTopologiaTopologia algebricaSistemi dinamiciFrattali matematici513Sinai,Yakov G.44862ITUNINARICAUNIMARCBK99000111868040332111-303F19642FI1FI1Dynamical systems336758UNINA02821nam 22005293 450 991014858340332120230808200240.097816813702551681370255(CKB)3710000000921904(MiAaPQ)EBC6047457(Au-PeEL)EBL6047457(OCoLC)962854971(Exl-AI)6047457(EXLCZ)99371000000092190420210901d2016 uy 0engurcnu||||||||txtrdacontentcrdamediacrrdacarrierNotes on the Cinematograph1st ed.New York :New York Review Books,2016.©2016.1 online resource (41 pages)9781681370248 1681370247 Biographical Notes -- Title Page -- Copyright and More Information -- Contents -- Introduction -- Notes on the Cinematograph -- 1950–1958 -- Further Notes 1960–1974Generated by AI."A key influence on the French New Wave and the director of such iconic works as Pickpocket and A Man Escaped, Robert Bresson is one of the central figures of French cinema. Notes on the Cinematograph is not only his definitive treatise on film--its inherent peculiarity and potential--but an ascetic meditation on how art transcends, and is transformed by, the senses. Bresson upends inherited truths with empirical ones, calling for film to divest itself of the trappings of theater in order to come into its own as an art form. While theater is capable of simulation, film can capture immanent being. Therefore, he argues, the two forms are innately at odds: "No marriage of theater and cinematography without both being exterminated." To this end, Bresson rechristens his actors "models" and conducts them through grueling shoots where they repeat their lines and movements until he deems them vacant of actorly intention and charged, instead, with inscrutability: "A model. Enclosed in his mysterious appearance. He has brought home to him all of him that was outside. He is there, behind that forehead, those cheeks.""--Provided by publisher.Philosophy in motion picturesGenerated by AIArt and motion picturesGenerated by AIPhilosophy in motion picturesArt and motion pictures791.43023791.43023PER004010PER004020PER004000bisacshBresson Robert162950Griffin Jonathan1246387Le Clézio J. M. G408168MiAaPQMiAaPQMiAaPQBOOK9910148583403321Notes on the Cinematograph2889962UNINA