Bresson on Bresson by Bresson, Robert -- Read -- Imperial Library of Trantor

Index

Cover Title Page Copyright and More Information Contents Preface Part One: Public Affairs, 1934

Prelude

Part Two: Angels of Sin, 1943

It Takes an Auteur Jean Giraudoux

Part Three: Les Dames du Bois de Boulogne, 1945

Scandals and Shocks Interiority Leads the Way Jean Cocteau The Festival du Film Maudit

Part Four: Diary of a Country Priest, 1951

Between These Two Worlds It’s the Impossibility That Attracts Me To See and To Hear As I Would Write a Poem

Part Five: A Man Escaped, 1956

The Wind Blows Where It Wants To A New Means of Expression

Part Six: Pickpocket, 1959

A Film Made of Hands, Objects, and Glances A Film’s Rhythm Should Be Like the Beating of a Heart To Capture Only What Is Real To Get to the Mystery Poetry and Truth Are Sisters

Part Seven: The Trial of Joan of Arc, 1962

This Familiarity with the Palpably Supernatural I Know of Nothing More Atrocious or More Poignant It’s What the Film Wanted Emotion Should Be Our Only Guide Joan of Arc Was Beautiful, Elegant, Approachable, Modern To Make Her Real, To Bring Her Close If You Want the Current to Flow, You Have to Strip the Wires

Part Eight: Adaptation

Aspects of Dramatic Creation

Part Nine: Au Hasard Balthazar, 1966

Part Ten: Mouchette, 1967

More in the Manner of Portraitists Something Else I Like in Bernanos: His Supernatural Is Constructed from the Real Looks That Kill

Part Eleven: The Sound Track

The Ear Is Far More Creative Than the Eye

Part Twelve: A Gentle Woman, 1969

Part Thirteen: Four Nights of a Dreamer, 1972

Art Is Not a Luxury, But a Vital Need Between Blue and Brown I Look for Surprises

Part Fourteen: Lancelot of the Lake, 1974

To Bring the Past into the Present It Was Lancelot’s Very Particular Inner Adventure That I Found Striking Torn Between Fidelity and Felony The Sound of Iron The Grail

Part Fifteen: Notes on the Cinematograph, 1975

You Strip Your Art Naked

Part Sixteen: The Devil, Probably, 1977

The Adversary The Gaps Are Where the Poetry Slips In

Part Seventeen: L’Argent, 1983

O Money, Visible God! The Cinema Is Immense. We Haven’t Done a Thing.

Image Credits Biographical Notes