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The cinema (photographed theater) shows to what extent. No absolute value to an image. Sound and image owe their value and their power only to the use you put them to. In the mixture of true and false, the true makes the false stand out, the false prevents belief in the true.
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Jan 15, 2020 · Cinema is an experiential art, and Notes on the Cinematograph is an experiential read for those fascinated in Bresson’s set of principles and approach to film language, intrigued by the potential of filmmaking as an art form, and absorbed in their own cinematic style.
Apr 4, 2004 · Robert Bresson wrote a slim volume of his thoughts on cinema called Notes on Cinematographer which defies categorisation. What is striking and unique about Bresson is how his writing is so much like his filmmaking: the elliptical style, the epigrammatic prose, the obtuse meanings, the material rigidity, the conciseness, the frugality of means.
Notes on the Cinematographer (French: Notes sur le cinématographe) is a 1975 book by the French filmmaker Robert Bresson. It collects Bresson's reflections on cinema written as short aphorisms. [1] J. M. G. Le Clézio wrote a preface for a new edition in 1988. [2] The book was published in English in 1977, translated by Jonathan Griffin. [3]
- Robert Bresson
- 1975
Sep 23, 2017 · A distillation of his theory and practice as a filmmaker, the Notes on the Cinematograph is full of cryptic aphorisms and practical, common sense advice on all aspects of filmmaking, from cinema, writing and working with actors, to photography, sound and lighting.
Befitting the filmmaker, Notes on the Cinematographer is an atypical book. Essentially a collection of notes made throughout his career, the book is less prose than it is notebook. It’s rare to get such an insight into a filmmaker’s thoughts and process so much in the moment, usually it’s an after-the-fact recollection many years later ...
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What did Robert Bresson write about cinema?
Ranging over topics from the inspiration behind his films, to his ideas on the use of sound, actors, editing and music, and the state of (the then) contemporary cinema (from James Bond to the New Wave), Bresson describes his singular approach to filmmaking.
