بخشش دیرهنگام برسون و هنرهای بصری: سینما، نقاشی و آزمایش‌های آوانگارد

The color films of French film director Robert Bresson (1901-99) have largely been neglected, despite the fact that Bresson himself considered them to be more fully realized reflections of his aspirations for the cinema. This study presents a revised and revitalized Bresson, comparing his late style to painterly innovations in color, light, and iconography from the Middle Ages to the present, to abstract painting in France after World War II, and to affinities with the avant-garde movements of Surrealism, Constructivism, and Minimalism. Drawing on media archeology, this study views Bresson's work through such allied visual arts practices as painting, photography, sculpture, theater, and dance. Critics have largely neglected the color films of French film director Robert Bresson (1901-1999). To correct that oversight, this study presents a revised and revitalized Bresson, comparing his style to innovations in abstract painting after World War II, exploring his affinities with such avant-garde traditions as surrealism, constructivism, and minimalism, and illustrating how his embodied style leads to a complex form of intermediality. Through that analysis, Raymond Watkins shows clearly that Bresson still has a good deal to teach us about cinema's distinctive ability to draw on painting, photography, sculpture, and the plastic arts in general Critics have largely neglected the colour films of French film director Robert Bresson (1901—99). To correct that oversight, this studypresents a revised and revitalised Bresson, comparing his style to innovations in abstract painting after World War II, exploring hisaffinities with such avant-garde traditions as surrealism, constructivism, and minimalism, and illustrating how his embodied style leadsto a complex form of intermediality. Through that analysis, Raymond Watkins shows clearly that Bresson still has a good deal to teach us about cinema's distinctive ability to draw on painting, photography, sculpture, and the plastic arts in general.

Intended as a textbook, this title is also a supplement to more theoretical works, and a fascinating read for anyone interested in human mind in the extreme circumstances experienced by a crime victim or perpetrator, under the scrutiny of interrogation and cross-examination.

This book looks at the largely neglected colour films of French film director Robert Bresson (1901—99) that can teach us about cinema's distinctive ability to draw on painting, photography, sculpture, and the plastic arts in general.