Permettez que je parle de moi. J'ai grandi en Campanie, je suis fils de paysans.
Ce sont des gens simples. Ils savent tout de l'olivier, mais pour le reste, bien peu de choses. Mais pourquoi n'y a-t-il jamais rien? Pourquoi met-il la terre au centre de l'univers? C'est de cela qu'il s'agit.
Plus de hasard. Et qui oserait dire que, pour ceux qui sont dignes de la joie, ce qui est nouveau ne soit pas beau? Est-il chez l'homme plus saisissante dialectique et qui de l'homme engage plus? Je ne capitule pas. Est-ce le doute, est-ce l'incertitude qui peuvent inspirer un programme de gouvernement? Le scepticisme absolu ne fournit rien qui puisse y aider. La conviction est au contraire une affirmation individuelle qui favorise une vie pleine et responsable. Sommaire du site Magister. Types de textes. Lecture analytique.
Le commentaire. La dissertation.
La vitrine numérique du travail des Têtes Chercheuses
Texte argumentatif. New York: Praeger An interpretation of the film based on liberation and death, freedom and privacy, and contemplation: "In Bresson, details are not signifiers, but rather containers of meaning, and so constructed that the meaning and its container are inseparable. Praises Mouchette for its vivid detail and criticizes its failure to present Mouchette's softer, more appealing side. Unfortunately, the criticism is based on a scene noted in error; Mouchette does, in fact, sing at Arsine's side in the film, just as she does in the book.
Hurley, Neil P. Includes inaccurate quotations and synopses. Johnson, William , 'Balthazar', in Renaissance of the Film. Edited by Julius Bellone. New York: Collier, Positive review that discusses the themes of communication and marriage, and Bresson's dry style in general, which is ameliorated in this film by the use of color. Negative review of Au hasard, Balthazar : Bresson's movie is a "religious statement, not an entertainment. Rhode gives the literary background and then compares Dostoevsky's story "A Gentle Creature" to the film, which he finds somewhat implausible in the transpostion.
About the woman he says, "It is a fact of life, worth Bresson's continual attention, that some people are scategoats willing to bear the mental pain of others. Summary of Bresson's career emphasizing the increasingly streamlined narratives, the quick editing, and the "disappearance of word and image. Review of Au hasard, Balthazar : "plucks out the roots of existence and presents us with a very morbidly beautiful flower of cinematic art. Bresson's vision of life and his cinematic style may seem to be bleak. Yet, no film I have ever seen has come so close to convulsing my entire being as Au Hasard, Balthazar.
It stands by itself as one of the loftiest pinnacles of artistically realized emotional experiences. Reprints of entries , Negative review of the film, which merely gives evidence of Bresson's continuing mental deterioration. Short article on Pierre Charbonnier Bresson's art director off and on since ; mostly points out that Charbonnier rarely speaks of Bresson.
Also comments on why he bases films on literary works, on art in contemporary society, on being a pessimist, and on his education. Discusses the film as a "simple rendering," and Bresson's cinema as "gestural" and "erotic. Gilliatt hints at a feminist and even antimale strain in Une Femme douce , describing it and all Bresson 's work as "reflections on escape from states of being buried alive. Review: "The intense covert eroticism of the earlier films. Whole scenes have an emotional complexity to match their deep refreshing cinematic purity.
Positive review of Une Femme douce , which more accurately comprises a plea for attention to work as a whole, rather than a discussion of the film. Hatch, Robert , 'Films', Nation 21 June , Review of Une Femme douce arguing that the transposition from nineteenth-century Russia to twentieth-century Paris, despite Bresson's "visual grip on the story," cannot be made to work. Review concluding that the film has a "missing" center; it provides plenty of atmosphere, but the dramatic conflict is too thin. An analysis of the classic Hollywood cinema and the contemporary European cinema represented by the Bressonian model.
The two types of film -- the first involving the dramatic resolution of an antagonistic situation, the second involving the impossible-to-resolve situation of an alienated innocent -- are contrasted in terms of the characters' positioning in the frame relative to each other and to the frame itself. The positive ideological effects of the latter are produced by the main character's "signifying in excess" of the fictional requirements and her corresponding "lack" relative to the other characters.
This signifying, augmented by Bresson's emphasis on "the look" of the character and his "anchoring" of metaphysical connotations in the image, leads to the "refutation of the 'object position' and constitutes the finality of the Bresson fiction. Prokosch, Mike , 'Bresson's Stylistics Revisited.
Prokosch defines a materialist analysis and then attempts to show that Bresson's films, particularly Au hasard. Balthazar , emerge favorably from such an analysis because Bresson refuses to encourage the spectator's inclination to relate to the characters, and he presents events as "equivalent emotionally" without dramatic emphasis or ordering.
With this comes a "new mode of understanding.
Review of Une Femme douce that discusses it primarily as a character study: "Dostoevsky attributes the distance [between people]. He also points out the strangeness of the ending, which is without the finality of virtually all Bresson's other films. Article that argues that Bresson himself, by virtue of the evidence of his work as a whole, is heading toward suicide.
Zeman claims that Bresson is obsessed with the question of whether or not suicide is religiously acceptable. Zimmerman, Paul, D. Review of Une Femme douce : It "makes no concessions to the audience's appetite for alleviating humor or accelerated action [but]. This film is in "perfect correspondence to the Dostoevsky novella. In its refusal of the tragic, this beautiful and smooth film has a sorrowful resonance and reaffirms Bresson's importance in French cinema. At the core of them is the "correspondence between realism and abstraction, between body and soul," but Clouzot agrees with those who feel that the presentation of these correspondences only confuses further an already muddled critique of modern society.
Collet is struck by the many uncharacteristically pleasing elements of the film and sees it as a definite break in the traditional view of Bresson as a "haughty stranger to the anxieties and hopes of our time; here, he is engaged with a less serious, even charming, neurosis.
Similar authors to follow
See entry for anntation. Positive review emphasizing the change in tone that this film represents for Bresson. Guiguet discusses in detail the film-within- a-film sequence, the visit of Jacques's pompous artist friend, and the rich string of theoretical notions that each brings to the film. Edited by David Denby. Knudsen, M and Braad Thomson, C.
Cited in International Index to Film Periodicals A tour de force of analysis that should be read in full. To Oudart, it is an exceptionally weak "idealist transcription of internal contradictions, a film so completely devoid of the ideological effects" of Bresson's previous films that it neutralizes their value.
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Bresson's desire has been "foreclosed"; he confuses the shooting space with a real space presented "live" that is supposed to reflect the contradictions of contemporary society. This inscription of a real social practice is "the last resort of idealist cinema to give itself a seeming political position.
This rapport is "the inhibition of the Bressonian fiction," and its denegation results in a "castrated lover. Putnam's Sons, Interview that focuses particularly on Bresson's methods of directing actors, including a direct question about his "closed off manner on the set.