LEADER 02297nam 22004213 450 001 9910148583403321 005 20230808200240.0 010 $a1-68137-025-5 035 $a(CKB)3710000000921904 035 $a(MiAaPQ)EBC6047457 035 $a(Au-PeEL)EBL6047457 035 $a(OCoLC)962854971 035 $a(EXLCZ)993710000000921904 100 $a20210901d2016 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aNotes on the Cinematograph 210 1$aNew York :$cNew York Review Books,$d2016. 210 4$dİ2016. 215 $a1 online resource (41 pages) 311 $a1-68137-024-7 330 $a"A key influence on the French New Wave and the director of such iconic works as Pickpocket and A Man Escaped, Robert Bresson is one of the central figures of French cinema. Notes on the Cinematograph is not only his definitive treatise on film--its inherent peculiarity and potential--but an ascetic meditation on how art transcends, and is transformed by, the senses. Bresson upends inherited truths with empirical ones, calling for film to divest itself of the trappings of theater in order to come into its own as an art form. While theater is capable of simulation, film can capture immanent being. Therefore, he argues, the two forms are innately at odds: "No marriage of theater and cinematography without both being exterminated." To this end, Bresson rechristens his actors "models" and conducts them through grueling shoots where they repeat their lines and movements until he deems them vacant of actorly intention and charged, instead, with inscrutability: "A model. Enclosed in his mysterious appearance. He has brought home to him all of him that was outside. He is there, behind that forehead, those cheeks.""--$cProvided by publisher. 676 $a791.43023 676 $a791.43023 686 $aPER004010$aPER004020$aPER004000$2bisacsh 700 $aBresson$b Robert$0162950 701 $aGriffin$b Jonathan$01246387 701 $aLe Cle?zio$b J. M. G$0408168 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910148583403321 996 $aNotes on the Cinematograph$92889962 997 $aUNINA