Robert Bresson


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Robert Bresson
Birthday
BirthplacePuy-de-Dôme, Auvergne, France
Died
Occupation
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).

Bibliography

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.

REFERENCE

Estève, M. Robert Bresson. [Paris, 1966.] (Bibliography.)
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The Robert Bresson Prize is given each year in collaboration with the Pontifical Councils for Social Communication and for Culture.
JAMES QUANDT, SENIOR PROGRAMMER AT TIFF CINEMATHEQUE IN TORONTO, IS THE EDITOR OF APICHATPONG WEERASETHAKUL (WALLFLOWER PRESS, 2009) AND ROBERT BRESSON (REVISED) (UNIVERSITY OF INDIANA PRESS, 2012).
In 1950, Robert Bresson directed an adaptation of Georges Bemanos' Diary of a Country Priest, two months after the writer's death.
Paul Schrader, for instance, in discussing the style of film-making he characterizes as transcendental, privileges the following: a lack of external ostentation (no lightning bolts carving out the 10 commandments, no grand dances or orgiastic scenes in Herod's palace); a general nonexpressiveness (no looks of shock or awe or quivering lips connoting being touched by the divine); and a shunning of what director Robert Bresson called "screens" (clues that inform a viewer what to inspect or how to feel) (1972, p.
The film, directed by Robert Bresson, premiered at the 1966 Venice Film Festival, where it won the OCIC Award.
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.
It is, first of all, an elaborate love letter to the ideas of French filmmaker Robert Bresson (1901-1999), complete with a succession of French lesson-style translations of Bresson's writings (starring the filmmaker and his French teacher).
Tuesday, the final film by French director Robert Bresson.
Touching God: The Novels of Georges Bernanos and the Films of Robert Bresson.
But her essay on Robert Bresson, for example, does not directly express that exhilaration in the way that Godard might have.
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.