It is also correct, you realise: after all, before soundtracks you had either a continuous musical accompaniment, or the clattering of the projector itself. If there were any director you might expect to write what is, in effect, a philosophical notebook on the art and science of film-making, it would be Bresson. He studied philosophy as a young man, as well as painting, an ideal pairing for the contemplative, ascetic cinema of Diary of a Country Priest , Pickpocket and A Man Escaped — all from the s, when the bulk of these notes were written. He started off as a scriptwriter, so he knows the value of words.
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Return to Book Page. Preview — Notes on the Cinematographer by Robert Bresson. Notes on the Cinematographer by Robert Bresson ,. Jonathan Griffin Translator. Robert 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.
Director of The Trial of Joan of Arc, Pickpocket, A Prisoner Escapes, Diary of a Country Priest, Money , and many other classic films, Robert Bresson is, qu Robert 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.
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To see what your friends thought of this book, please sign up. To ask other readers questions about Notes on the Cinematographer , please sign up. Richard Bresson, Robert. Notes on the Cinematograph. Jonathan Griffin. Also available as an e-book. See 1 question about Notes on the Cinematographer…. Lists with This Book. Community Reviews. Showing Average rating 4. Rating details. More filters. Sort order. Start your review of Notes on the Cinematographer. Oct 03, Mariel rated it it was amazing Recommends it for: eeyore without tail.
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.
I'm sure it's one hell of a book for creative people. I don't make things so much as try to get by and live better by living elsewhere as in outside of me. I'm not the right person to ask about that Anyway, I'd assimilate this instead of The Little Book of Calm as seen on the brilliant Black Books series when Manny 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.
Anyway, I'd assimilate this instead of The Little Book of Calm as seen on the brilliant Black Books series when Manny accidentally ingests that ridiculous book and starts spouting out advice from it. I'd love to live in that book shop with Manny and Bernard. These are notes that Bresson jotted down to himself, pretty much.
Like someone else's train of thought that would cross stations with what I think about a lot. 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. As in, speaking out of my ass. Got plenty of fiber, at least. Between them and me: telepathic exchanges, divination.
This is one of the reasons why I watch so many movies. It's also why I have such a bad staring problem. I'm probably hoping for something I wanna feel affirmed, probably.
Find some kind of beauty. At least something not cold. I'm probably like Good Charlotte when they name their brilliant beyond brilliant influences. Like they haven't ever listened to themselves!
The least fat of the two did get Hilary Duff into The Smiths. Maybe when the fattest one is tired of Nicole Ritchie beating up on him he could tell me about all that I'm missing! What's this? A mysterious note in the margins of my book for me to get some self-esteem. Cinematography is writing with images in movement and with sounds. I love that. I so agree! I liked what he said about it working when the models Bresson doesn't call his actors "actors" and it works out right when they get his secret wishes.
This is something I've thought about from time to time, whether all the other people involved in films not just screenwriter and director. How come Charlie Kaufman is one of the only screenwriters given credit?
It's like people really think that all these directors came on these scripts out of nowhere! I love this wavelength, "secret desires" idea of Bresson's. Maybe it really is like that.
How neat. Others become arms to reach Respect man's nature without wishing it was more palpable than it is. I try to remember this one. Communication is really hard for me. I try and remember that the flavor of other people's feelings aren't always going to be that strong for me to pick up. Or palatable. A system does not regulate everything. It is a bait for something. An unsoul crushingly way to look at that. I need to have some sort of organization up there thumping my noggin right now.
My movie is born first in my head, dies on paper; is resuscitated by the living persons and real objects I use, which are killed on film but, placed in a certain order and projected on to a screen, come to life again like flowers in water.
Doing the same action twenty times in rehearsals will lead to doing them without thinking about them. That's not a direct quote. He says stuff about that a lot. John Frusciante made six records in After spending lots of efforts on different takes to get everything as perfect as can be he decided to try just one take for his singing. People could sing his er tune now, what with the surge of auto-tune Does it kill spontaneity?
I liked that idea of it coming about again just by getting used to it and no longer thinking about what you are doing. It is going to get tiresome to keep quoting so much I'm not sure if I agree with Bresson on true and false, or on music.
In a mixture of true and false, the true brings out the false, the false hinders belief in the true.
“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. An actor needs to get out of himself in order to see himself in the other person.
Robert Bresson’s Notes on Cinematography
Notes on the Cinematograph by Robert Bresson review – the art of film
It collects Bresson's reflections on cinema written as short aphorisms. Publishers Weekly wrote in "The casual but succinct observations, presented here three or four to a page, consist of short paragraphs or single sentences. All demonstrate a scintillating curiosity and quest for perfection. In a British Film Institute poll, Notes on the Cinematographe was ranked the second greatest book about film. From Wikipedia, the free encyclopedia. Retrieved