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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In four decades, Bresson made only thirteen features, works of extraordinary lucidity and profound mystery, of absolute rigor and overwhelming emotion.
Alem disso, se consideramos as obras do repertorio classico pre-existente utilizadas por Bresson em toda a sua filmografia, vemos um predominio do periodo barroco, como os trechos de Lully, em Pickpocket (1959), de Monteverdi, em Mouchette (1967) e O diabo provavelmente (1977), de Purcell, em Uma mulher suave (1969), e de Bach, em O dinheiro (1983).
As the director Bresson once tried to explain it, "The more life is what it is--ordinary, simple, without pronouncing the word of God--the more I see the presence of God in that" (qtd.
Bresson was senior vice president and chief operating officer, responsible for managing day-to-day global activities of the company's divisional and product groups, including global sales.
Critical writings on Robert Bresson's films over the past thirty years have stressed the filmmaker's preoccupation with "questions of grace and predestination, election and salvation" (3); hence the prevailing view of Bresson as a religious filmmaker.
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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.
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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.