Robert Bresson

Also found in: Dictionary, Wikipedia.
Robert Bresson
BirthplacePuy-de-Dôme, Auvergne, France
Film director, screenwriter

Bresson, Robert

(rôbĕr` brĕsôN`), 1901–99, French film director and scriptwriter, b. Bromont-Lamottie, France. Bresson's films tend to be austere, unadorned, and concerned more with intellectual and spriritual values than plot or character. He evinced a unique aesthetic and spiritual approach to cinema in the 13 films he made during the course of 40 years. Bresson attempted to avoid the theatrical, preferring to use nonprofessional actors in scripts with a minimum of dialogue and creating images of nearly abstract simplicity. His films include Les Dames du Bois de Bologne (1944), The Diary of a Country Priest (1950), A Man Escaped (1956), Pickpocket (1959), The Trial of Joan of Arc (1965), Au Hasard, Balthazar (1966), Mouchette (1966), Lancelot of the Lake (1974), and Money (1983).


See I. Cameron, ed., The Films of Robert Bresson (1970) and T. Pipolo, Robert Bresson: A Passion for Film (2010).

Bresson, Robert


Born Sept. 25, 1907, in Bromont-la-Mothe, Auvergne. French film director.

Bresson studied painting and was an assistant director and a scriptwriter. His first full-length film was Angels of Sin (1943). Subsequent films included Ladies of Bois de Boulogne (1945, based on the theme of D. Diderot’s novel Jacques the Fatalist) and Diary of a Country Priest (after G. Bernanos; 1950). His most significant work was The Condemned One Escaped (1956). Bresson’s work is characterized by a keen interest in problems of morality; the action of his films is devoid of ostentatious effects and inherently charged with drama and emotion. Among his other films are The Trial of Joan of Arc (1962), Balthazar by Chance (1966), Mouchette (1967), and A Gentle Creature (after Dostoevsky; 1968). A considerable number of Bresson’s films have been awarded prizes at international film festivals.


Estève, M. Robert Bresson. [Paris, 1966.] (Bibliography.)
Mentioned in ?
References in periodicals archive ?
Observamos que, no filme Um condenado a morte escapou, o diretor Robert Bresson imprime uma marca de autoria quanto a musica, como no conceito de Gorbman, (2007), assumindo o controle da trilha musical do filme ao utilizar somente trechos do Kyrie da Missa em do menor K427 de Mozart.
De ahi la dimension que abre la manera de dirigir en el estilo Robert Bresson, de maximo distanciamiento, es la vida interior de este exmozo de la Dina sugerida por la conciencia de no ser el mismo de antes, por su vida religiosa actual y por la clara comprension de la demanda de la familia de uno de los desaparecidos en una escena culminante.
Thus, Nancy's work here provides the philosophical framework for investigating this understanding of touch in selected films by Robert Bresson, Marguerite Duras, and Claire Denis, connecting touch-as-withdrawal to such thematic concerns as the logic of incarnation in Bresson, a negative model of community in Duras, and notions of alterity and intrusion in Denis--or more generally to a destabilization of concepts of identity, propriety, immediacy, and presence.
Tuesday, the final film by French director Robert Bresson.
Voila une reflexion qui laisse songeur lorsque nous consultons Notes sur le cinematographe que Robert Bresson redigea au cours de ses trente premieres annees de travail de cineaste.
Touching God: The Novels of Georges Bernanos and the Films of Robert Bresson.
Warehime's first chapter also usefully counterposes Pialat to Robert Bresson, with whom (despite clear differences--materialism rather than 'spiritual style' and powerful emotion rather than cool detachment) he shared a displacement of conventional psychological drama into formal fragmentation and sparseness, and an understanding of the importance of silence and non-linguistic sound, as well as a near-obsession with authenticity.
For instance, in his essay "The Universe of Robert Bresson," published in the same year as Sontag's essay, Amedee Ayfre speaks of the ascetic quality of Bresson's visual style--his refusal of the traditional markers of character psychology (gesture, relational editing)--as the condition necessary for a religious aesthetic.
With its clear Canadian echoes of Samuel Beckett and Robert Bresson, MacGillivray's work is a modernist marvel in miniature that speaks of itself as it speaks to us.
La pelicula del cineasta frances Robert Bresson "Balthazar", cuenta la vida de un burro llamado "Balthazar', que va pasando por varios duenos que lo maltratan todo el tiempo.
Directed by Thomas Clay, arriving almost unknown, this low-budget movie, borrowing its title from a Werner Herzog film and inspired by Robert Bresson and Tarkovsky, has caused a storm through its graphic scenes of sexual violence.