Start your review of Notes on the Cinematographer Write a review Oct 03, Mariel rated it it was amazing Recommends it for: eeyore without tail Recommended to Mariel by: an actor will seek revenge Robert Bresson Notes on the Cinematographer is my philosophy book or self-help book for putting things together in what I feel, or need, to be real in stories, images, moments. These are notes that Bresson jotted down to himself, pretty much. One thing I am not is a clear thinker. I hope for inspiration from someone so inspired. I feel inspired watching his films. Unfortunately, I think like pulling from the toppermost of my mental soils, seldom going down to the roots or allowing for future harvests.
|Published (Last):||5 March 2019|
|PDF File Size:||9.37 Mb|
|ePub File Size:||1.7 Mb|
|Price:||Free* [*Free Regsitration Required]|
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. It is all there in both his work and his words. Andrei Tarkovsky, whose own work of film philosophy Sculpting in Time is among one of the finest written by a filmmaker, admitted that not all of the aesthetic and theoretical ideals he writes about were consummated in his film work.
The only filmmaker whom he felt did match up with his theoretical ideal was Bresson. Mechanized outwardly, Intact, virgin within Bresson, An actor needs to get out of himself in order to see himself in the other person.
To Bresson the model refers simply to the performer who lays bare their soul to the camera. The model is sometimes used interchangeably with actor, but the two are not identical. Model encompasses an attitude, the Bressonian attitude, which goes beyond performance.
This makes sense when you consider that Bresson never used the same actor twice, hence each actor provides their own template which is then broken and reshaped by another model. Paradoxical Thought Unbalance so as to re-balance Bresson, Absolute silence and silence obtained by a pianissimo of noises Bresson, Practice the precept: find without seeking Bresson, Simultaneous precision and imprecision of music Bresson, Provoke the unexpected.
Expect it Bresson, See beings and things in their separate parts. Render them independent in order to give them a new dependence Bresson, Perhaps the most important being the latter, as the above quote suggests. Is his attachment to bodily detail and physical objects just that: a love of things themselves? Or does the probing go further? In either case, one can never truly claim that Bresson is a Materialist in the sense of one who believes only in the reality of matter.
The Devil, Probably Montaigne: The movements of the soul were born with the same progression as those of the body Bresson, This quote again invokes the noted debate between the Transcendentalists and Materialists. To help solve this age-old philosophical problem Bergson distinguished between two types of memory, habit formed memory and pure recollection habitual memory and pure memory. The former is stored in the brain matter , the service-house of action, and the latter within consciousness life.
Pure perception helps select what is necessary for the bodily function. However, pure perception and pure memory exist only in theory because perception is always affected by memory and pure memory is dependent on the brain for materialization.
Therefore the brain, which cannot actually produce a representation or image, can be seen as the meeting house for mind and matter. Bergson applies this logic to attain balance between idealism mind and realism body. Neither pure consciousness nor pure things-in-themselves exist wholly independently of one another.
Perception is a selective function of the brain that appraises the field of matter according to its bodily purpose or action. Inward Movements Unusual approaches to bodies. On the watch for the most imperceptible, the most inward movements Bresson, Your camera catches not only physical movements that are inapprehensible by pencil, brush or pen, but also certain states of soul recognizable by indices which it alone can reveal Bresson, This can again be related to Bergson. The mind perceives the real world, creates an idea of it, but the mind itself is made of the same substance as that which it imagines.
Hence Bresson, like Bergson, makes no distinction between movement imagined or movement seen, which translates cinematographically, to movement expressed through editing and static glances, or movements enacted physically through moving subjects or moving camera. Against the tactics of speed, of noise, set tactics of slowness, of silence Bresson, Why does Bresson give such great stress on sound, even more so than the image?
There are two general responses. The following quote points the way to the first: One forgets too easily the difference between a man and his image, and that there is none between the sound of his voice on the screen and in real life Bresson, We can see here how sound has a more realistic and graphic potential than the image. Both the camera and the sound recorder are mechanical interventions, and yet Bresson sees one as being less of a distraction as a reproduction of the original.
What this implies is that the ear is less likely to discern or be ontologically bothered by a technologically mediated difference. The ear accepts reproductions more willingly than the eye. The Soundtrack Invented Silence Bresson, Here we are reminded of another stalwart cinema enfant terrible, Stan Brakhage, who once said in relation to his own late era silent films, that true silent cinema only became possible with the advent of sound. All husbands are ugly Bresson, Pickpocket The ejaculatory force of the eye Bresson, Editing Be sure of having used to the full all that is communicated by immobility and silence Bresson, One does not create by adding, but by taking away.
To develop is another matter. Not to spread out. Bresson, Empty the pond to get the fish Bresson, Obvious travelling or panning shots do not correspond to the movements of the eye. This is to separate the eye from the body.
One should not use the camera as if it were a broom Bresson, No director has ever expressed as much with as little. Bresson recalls the great electric blues guitar masters, such as B.
King and Albert King, who would express more with their limited range of pet phrases than other guitarists would with their busy, rapid-fire speed runs.
Like those blues masters, Bresson demonstrates just how important style is. Firstly, the sucking out of drama is done dramatically: things that are normally shown are withheld. In The Devil, Probably, the camera is inside a bus with its load of passengers. Things that are shown are shown with abnormal force and precision.
Scott Palmer. Ian Cameron. New York: Praeger, Inc.
“Notes” on Notes on the Cinematographer
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. It is all there in both his work and his words. Andrei Tarkovsky, whose own work of film philosophy Sculpting in Time is among one of the finest written by a filmmaker, admitted that not all of the aesthetic and theoretical ideals he writes about were consummated in his film work. The only filmmaker whom he felt did match up with his theoretical ideal was Bresson. Mechanized outwardly, Intact, virgin within Bresson, An actor needs to get out of himself in order to see himself in the other person.
BRESSON NOTES ON CINEMATOGRAPHY PDF
Thus what Bresson sees as the essence of filmic art, the achievement of the creative transformation involved in all art through the interplay of images of real things, is destroyed by the artifice of acting. For Bresson, then, acting is, like mood music and expressive camera work, just one more way of deforming reality or inventing that has to be avoided. Indeed, of an earlier protagonist he said, "Mouchette offers evidence of misery and cruelty. She is found everywhere: wars, concentration camps, tortures, assassinations. For him, cinematography is the higher function of cinema. While a movie is in essence "only" filmed theatre, cinematography is an attempt to create a new language of moving images and sounds.
I have given Notes on Cinematography to the people I care about the most. The people who truly love film, love art and love life for all the right reasons. Please do the same. Bresson at this time has completed six of his most well known films and is in the process of shooting Au Hasard Balthazar.