Late Bresson and the visual arts : cinema, painting and Avant-Garde experiment
Art and motion pictures Avant-garde (Aesthetics) Bresson, Robert Criticism, interpretation, etc e-böcker
Amsterdam University Press
2018
EISBN 9789048533992
Bresson's debt to painting: iconography, lighting, color, and framing practices.
The turn to postwar abstraction: action painting, L'Art Informel, and Le Nouveau Réalisme.
Bresson's flirtation with surrealism: sexual desire, masochism, and abjection.
The design and pattern of the whole: constructivist painting and theater.
Between constructivism and minimalism: Bresson's ambivalence toward the modern
Critics have largely neglected the color films of French film director Robert Bresson (1901?99). 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
The turn to postwar abstraction: action painting, L'Art Informel, and Le Nouveau Réalisme.
Bresson's flirtation with surrealism: sexual desire, masochism, and abjection.
The design and pattern of the whole: constructivist painting and theater.
Between constructivism and minimalism: Bresson's ambivalence toward the modern
Critics have largely neglected the color films of French film director Robert Bresson (1901?99). 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
