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	Robert Bresson - Wikipedia, the free encyclopedia
		Robert Bresson (September 25, 1901–December 18, 1999) was a French film director well known for his mastery of minimalist film-making.
		Bresson's main artistic focus was to separate the language of cinema from the theatre, which often heavily involves the actor's performance to drive the work.
		In 1976, Bresson published Notes sur le Cinématographe, in which he argued that cinematography is the higher function of cinema: whereas a movie is in essence "only" filmed theatre, cinematography is an attempt to create a new language of moving images and sounds via montage.
	en.wikipedia.org /wiki/Robert_Bresson (733 words)

	To See the World Profoundly: The Films of Robert Bresson, by Shmuel Ben-gad
		Bresson believes -- and I concur -- that the words he has his models utter and the movements and gestures he has them make in an automatic, nonintentional way, invariably, if subtly, evoke human depths because the models, after all, are human beings.
		Bresson's filmic universe is one of real, simply presented persons, objects, and sounds (no one uses the soundtrack more effectively than he), and each thing that is observed or heard is granted its own integrity; yet it is also wrapped up in the same mysterious realm as all the other items.
		Bresson's art has often been called "spiritual," but I am inclined to think of it as highly materialist in that, as I have noted, it is most respectful of material reality.
	www.crosscurrents.org /bresson.htm (2260 words)

	MovieMaker Magazine \| Issue #38 \| Fragments of Reality: The Cinema of Robert Bresson (1907-1999) (Site not responding. Last check: 2007-09-18)
		Bresson’s religious views, termed Jansenism, followed the teachings of a 17th century bishop condemned as a heretic by the Pope.
		Bresson’s universe is composed of blank faces and laconic gestures, repetitive movements and incremental advancement of plot, direct commentary and unadorned conversation.
		In one of the few instances where Bresson points his lens to the heavens, the opening and closing scenes from A Gentle Woman, it is to glimpse a white scarf floating downward from a balcony where a woman has, moments before, leaped to her death.
	www.moviemaker.com /issues/38/38_bresson.htm (844 words)

	Robert Bresson: Depth Behind Simplicity
		Bresson's desire to capture on film a trace of the essence of the human soul led him to remove from his works everything that he considered false or unnecessary.
		Bresson once said: "I am a maniac of the TRUE, for the slightest detail." Rejecting the tradition of "quality cinema", he avoided studio shooting and explained that a false use of lighting was just as dangerous as a false word or a false gesture.
		Bresson's films do not correspond to conventional character development; each person seems to be driven by internal desires, isolated in his individual outlook from the worlds of others.
	www.kinema.uwaterloo.ca /gorl001.htm (4448 words)

	Bright Lights Film Journal \| Robert Bresson
		Bresson, born in 1901, is a true anomaly even by the exacting standards of intransigent auteurs a la Sternberg or Carl Dreyer.
		Bresson's films were often controversial, and none more so than Mouchette (1966), banned in some quarters as an incitement to teenage suicide.
		Bresson's pessimism pervades the film, but his formal sleight-of-hand makes scenes like the joust come to life through a seemingly impossible strategy — shooting most of it at the level of the horses' legs.
	www.brightlightsfilm.com /24/bresson.html (1407 words)

	Robert Bresson
		Metaphorically, the physical malady of the priest is a manifestation of his spiritual health and eroding idealism, as his affliction evolves from a passing discomfort that is ameliorated by abstinence and self-denial, to a degenerative illness that slowly consumes him.
		Robert Bresson's Pickpocket is a well crafted, austere, and taut film of a man driven by his self-destructive compulsion.
		Robert Bresson's A Gentle Woman is a spare, elegant and poignant story of isolation, miscommunication, and emotional cruelty.
	www.filmref.com /directors/dirpages/bresson.html (2849 words)

	Bright Lights Film Journal \| Robert Bresson and Chantal Akerman
		Bresson is surprisingly indulgent here, perhaps taken by Weyergans’ youth and engagement and the fact that, like Bresson’s model/actors, he’s a kind of tabula rasa on which the master's ideas can be inscribed.
		Bresson is at his most poetic in the image of Joan’s bare feet noisily hitting the cobblestones as she walks rapidly toward her doom, but it’s also a highly typical scene in implying the whole by showing the part.
		Bresson’s theory of the “three births” of a film is worth repeating: “First, the film is born in your head and dies on paper.
	www.brightlightsfilm.com /37/bressondoc.htm (1044 words)

	French filmmaker Robert Bresson (1901-1999) "When one is in prison, the most important thing is the door"
		The spectator who surrenders him or herself to Bresson's work is not likely to remain unaffected by the intensity of the emotions conveyed, the formal rigor and seriousness, or the deep commitment of the filmmaker to his conceptions.
		Bresson worked at the emotional truth of his films with an almost unbearable intensity, out of a deep feeling of responsibility to his audience.
		Bresson is of course responsible for believing in Christian mythology to begin with, but I think it's safe to say that the filthiness of the “Communist” and “Socialist” bureaucracies, and all their hangers-on, helped ensure that he would never question seriously his faith.
	www.wsws.org /articles/2000/jan2000/bres-j20.shtml (4777 words)

	Film Comment (Site not responding. Last check: 2007-09-18)
		Bresson's aim is to sound out the profound mysteries that lurk within the spaces between objects, actions, and emotions, and the fact that he's been so uncommonly good at it for so long is attributable to his profound sense of harmony between images and sounds.
		In the Sixties, Bresson became increasingly interested in the particulars of the modern world, and by the Seventies he had turned away from dramas of individual regeneration and redemption and become a chronicler of the present.
		There is a terrific moral urgency to this shift: it's as though he was profoundly affected by the feelings of defeat and lethargy in the young people around him, and decided to devote himself to giving those feelings a voice, and to describing their parameters.
	www.filmlinc.com /fcm/5-6-99/bresson.htm (1166 words)

	French culture \| cinema: Robert Bresson Retrospective (Site not responding. Last check: 2007-09-18)
		Robert Bresson (1901-1999) is best known for his method: an ascetic sensibility able to distill cinema to its purest and most powerful moments.
		Bresson said of his early Les Affaires publiques: "I was a painter at the time and I wanted to make a filmÑa slightly crazy filmÉI did it without knowing anything about how to make a film.
		But the works of Robert Bresson - thirteen exquisite gems in a career that spans five decades - are as rare as they are revered.
	www.frenchculture.org /cinema/festival/bresson (352 words)

	Bresson, Robert on Encyclopedia.com (Site not responding. Last check: 2007-09-18)
		Bresson's films tend to be austere, unadorned, and concerned more with intellectual and spriritual values than plot or character.
		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.
		The french Photographer Robert DOISNEAU in Cartier Bresson's house in Paris.
	www.encyclopedia.com /html/B/Bresson.asp (791 words)

	[ robert-bresson.com \| Bresson-related News ]
		Bresson's actors — 'models' — are non-professional and strictly coached; but there is no mistaking the orgasmic pleasure that sweeps the face of indolent, penurious student Michel (Martin LaSalle) as he succeeds on his first 'dip' at Longchamps racecourse; nor his despair as his world begins to fall apart.
		Bresson's goals were deep; to sweep away the dross of expectation and viewing conventions by means of a purified cinema.
		His widow, Mylene Bresson, does not wish the film to have wide circulation as she feels it is unrepresentative of his work, and largely misunderstood (outside of the context of its time and the situation of its making).
	www.mastersofcinema.org /bresson/TheNews.html (13754 words)

	Guardian Unlimited Film \| Features \| Robert Bresson: Pickpocket
		He relies entirely on his instinct." Most people think that Bresson, one of the few film-makers who has never had to compromise for commercial purposes, is an intellectual who knows precisely why he wants what he wants.
		Only once does another way of working come into it when Bresson, who was fascinated by the methods used by pickpockets, describes the operations of a gang among the crowds at a railway station.
		Bresson is clearly not a film-maker for everybody, but he has pursued his own way remorselessly for the best part of 40 years and he has a very faithful audience.
	film.guardian.co.uk /Century_Of_Films/Story/0,4135,74835,00.html (648 words)

	BookCounter.com: Books by Robert Bresson (Site not responding. Last check: 2007-09-18)
		Robert Bresson’s Notes on the Cinematographer are working memos which the great French director made for his own use.
		In all of them, Bresson reflects with a craftsman’s insight on techniques and their philosophical and aesthetic implications.
		Bresson makes some quite radical distinctions between what he terms “cinematography” and something quite different: “cinema”—which is for him nothing but an attempt to photograph theater and use it for the screen.
	www.bookcounter.com /author/robertbresson/1 (210 words)

	Robert Bresson
		Robert Bresson’s 13 features over 40 years constitute arguably the most original and brilliant body of work over a long career from a film director in the history of cinema.
		Bresson seemed to become increasingly pessimistic about human nature: his penultimate two films suggest that he had more concern for animals and the environment than for people, while the characters in his astonishing swansong L’Argent are simply the victims of a chain of circumstance; money is the root of all evil.
		Bresson’s second influence, his early experience as a painter, is manifested in the austerity of his compositions.
	www.sensesofcinema.com /contents/directors/02/bresson.html (2558 words)

	Xploited Cinema - 3 FILMS OF ROBERT BRESSON
		Bresson’s use of non-professional actors, pared-down cinematic style and meticulously choreographed scenes of audacious robberies lend the film a remarkable and thrilling sense of authenticity.
		Robert Bresson won a Best Director Award at the 1983 Cannes Film Festival, as well as the Grand Prize for Creation, for this contemporary revision of Leo Tolstoy's short story.
		Bresson’s final film is a haunting commentary that condemns materialism and its sinful offspring, exploring universal themes that only continue to grow in importance in modern society.
	www.xploitedcinema.com /dvds/dvds.asp?title=4775 (567 words)

	Amazon.com: Pickpocket (2000) : Video (Site not responding. Last check: 2007-09-18)
		Bresson's direction of his "models" (as he calls his nonprofessional performers) strips them of affectation and motivation, making them blank slates defined by the accumulation of precisely drilled actions and words.
		Robert Bresson's genius rests in his awareness that actions often reflect on reality, as the action is something that physically affects its surroundings.
		Robert Bresson is finally getting a more complete (and long awaited) DVD treatment, with good discs available of Launcelot, A Man Escaped, L'Argent, Au Hazard, Diary of a Country Priest, and a few others.
	www.amazon.com /exec/obidos/tg/detail/-/1567301290?v=glance (2974 words)

	Hell on Robert Bresson (Site not responding. Last check: 2007-09-18)
		Bresson was in his seventies when he made it and I'll bet he'd never heard of "punk," but it is by far the most punk movie ever made, if I am a judge.
		But in life, as in Bresson's movies that not very much that is happening is very important, in fact it's God, and after you watch Bresson for a while it's almost unbearably charged and beautiful.
		Bresson's birthdate is half the time listed as 1901 and half the time 1907, so anyway he was at least seventy when he made the film.
	www.richardhell.com /Bresson.html (2981 words)

	Robert Bresson (Site not responding. Last check: 2007-09-18)
		Bresson at this time has completed six of his most well known films and is in the process of shooting Au Hasard Balthazar.
		Robert Bresson is the most under-rated of the major French film directors.
		Bresson's comments on varied subjects (Matisse, Cezanne, Pascal, Dostoevsky, cinema vs. theatre, actors vs. protagonists, cinema music, etc.) are pithy, rapid fire, and always entertaining and interesting.
	www.frif.com /new2002/bres.html (622 words)

	French culture \| cinema: Au Hasard Balthazar, by Robert Bresson
		Inspired in part by the donkey anecdote in Dostoyevsky's The Idiot, Bresson cast Balthazar the donkey as the central character.
		The other main figure in the film is a young farm girl who befriends Balthazar and suffers some of his fate in the grip of her passion for a leather-jacketed motorcyclist.
		Bresson was interested not only in the Biblical image of the donkey-his patience, his humility-but in the Greek and Roman concept of the donkey as a symbol of sexuality.
	www.info-france-usa.org /culture/cinema/festival/bresson/balthazar.html (176 words)

	ROBERT BRESSON: THE FAILURE TO FIND THE HOLY GRAIL
		The fact that the general public has managed to completely disregard the films of Robert Bresson has not detracted one iota from his firmly-established position as one of the world's great directors.
		This is one of the most valuable observations Bresson was able to make through his intuition: spirituality exists not only APART from emotion, but it actually stands ABOVE emotion on the scale of experiencing.
		The interesting feature of Bresson's film is that he chooses the end of the legend as his starting point: the knights have returned from their quest, having failed to find the Holy Grail.
	www.hal-pc.org /~questers/BRESSON.html (3418 words)

	The films of Robert Bresson from The New York Film Annex: NYFAVIDEO.com
		'The Bresson hero's ascetic, singlemided dedication to escape is almost mystic, and the fortress is as impersonal and isolated a world as Kafka's."—Pauline Kael.
		The plot is based loosely on crime and punishment, but the rigorous and compelling microscopic examination of the thief's techniques, his motives and his secret existence is pure Bresson.
		Screenplay by Bresson from the novel by Georges Bernanos.
	www.nyfavideo.com /content/cat-BRESSON.htm (453 words)

	Amazon.com: Robert Bresson (French Film Directors): Books: Keith Reader (Site not responding. Last check: 2007-09-18)
		This book provides a comprehensive introduction to the work of Robert Bresson, one of the most respected and acclaimed directors in the history of cinema.
		Bresson's unique use of “models” (he refuses the term “actors”), his sparse and elliptical editing style, his rejection of conventional psychological realism make his work all but unique and instantly recognizable.
		But Bresson is the most difficult and least approachable of film masters, his films are full of pessimism, austerity, remoteness.
	www.amazon.com /exec/obidos/tg/detail/-/0719053668?v=glance (673 words)

	Trial Of Joan Of Arc, The - MovieMail UK (Site not responding. Last check: 2007-09-18)
		Based on the transcripts of the actual trial of Joan of Arc, Bresson's film is austere and methodical, balancing Joan's humiliation with her spiritual redemption.
		Bresson transforms her oppression and suffering into a testament to her purity and spiritual liberation.
		Interview with Robert Bresson; Robert Bresson & Jean Guitton Interview; Florence Carraz Interview; George Duby & Laure Adler Interview; Speech by Andre Malraux; Trailer.
	www.moviemail-online.co.uk /films/14429 (241 words)

	Robert Bresson's PICKPOCKET previously at Film Forum in New York City
		Robert Bresson's PICKPOCKET previously at Film Forum in New York City
		This was Bresson’s first completely original script (he eventually realized the unconscious inspiration from Dostoyevsky’s Crime and Punishment) although he provides his own literary genesis in Michel’s diary (or is it a statement?), which provides the narration.
		Analogies between Hollywood moviemaking and Bresson seldom come to mind, but if the prison conclusion seems familiar, Paul Schrader (whose early critical work Transcendental Cinema highlighted his deep respect for Bresson) has acknowledged that Pickpocket directly influenced his American Gigolo screenplay, as well as Taxi Driver’s.
	www.filmforum.org /films/pickpocket.html (289 words)

	French Culture \| Cinema \| Robert Bresson: Au Hazard Balthazar (1966) / Criterion DVD June 14, 2005 (Site not responding. Last check: 2007-09-18)
		A profound masterpiece from one of the most revered filmmakers in the history of cinema, director Robert Bresson¹s Au hasard Balthazar follows a much abused donkey, Balthazar, whose life strangely parallels that of his first owner, Marie.
		Through Bresson¹s unconventional approach to composition, sound, and narrative, this seemingly simple story becomes a moving religious parable of purity and transcendence.
		A new essay by Bresson scholar James Quandt
	www.frenchculture.org /cinema/releases/bresson/auhazard.html (147 words)

	Robert Bresson (Site not responding. Last check: 2007-09-18)
		Robert Bresson trained as a painter before moving into films as a screenwriter...
		Cinéma de notre temps: Robert Bresson - Ni vu, ni connu (1965) (TV)....
		Find where Robert Bresson is credited alongside another name
	www.imdb.com /name/nm0000975 (241 words)

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