BRESSON NOTES SUR LE CINEMATOGRAPHE PDF

Notes sur le cinematographe (Folio) (English and French Edition) [Robert Bresson] on *FREE* shipping on qualifying offers. Book by Bresson. Notes on the Cinematographer is a book by the French filmmaker Robert Bresson. Original title, Notes sur le cinématographe Robert Bresson. Notes on the Cinematographer has ratings and reviews. Mariel said: Robert Bresson Notes on the Cinematographer is my philosophy book or self-he.

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Notes sur le cinématographe

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Return to Book Page. Preview — Notes on the Cinematographer by Robert Bresson. Notes on the Cinematographer by Robert Bresson. Robert Bresson makes some quite radical distinctions between what he terms “cinematography” and something quite different: Paperbackpages.

Published May 1st by Green Integer first published January 1st To see what your friends thought of this book, please sign up. To ask other readers questions about Notes on the Cinematographerplease sign up. Notes on the Cinematograph. Also available as an e-book. See 1 ls about Notes on the Cinematographer….

Lists with This Book. Oct 03, Mariel rated it it was amazing Recommends it for: 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.

LIVRE : Notes sur le Cinématographe de Robert Bresson – – Shangols

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.

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As in, speaking out of my ass. Got plenty of fiber, at least. Between them and me: 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! 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 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?

Notes sur le cin̩matographe РBlanche РGALLIMARD РSite Gallimard

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. 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. 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.

LIVRE : Notes sur le Cinématographe de Robert Bresson – 1975

People could sing his er tune now, what with the surge of auto-tune Does it kill spontaneity? I liked that idea of ld 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 ,e I agree with Bresson on true and false, or on music.

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In a mixture of true and false, the true brings out the false, the false hinders belief in the true. An actor simulating fear of shipwreck on the deck of a real ship battered by a real storm – we believe neither in the actor, nor in the storm.

I believe that something can be both true and false. I find it difficult to believe that any thing is all true or all false, if it is emotions. I tend to act more upset when things aren’t that bad than I do when things are really, really bad. You can’t always tell on the surface.

I like to look for little signs, read between the lines Bresson wrote that there should be no music at all, unless instruments seen in the film. I guess Bresson would have seen eye to eye with them on the music, at least. Pretty useless sjr, I thought what did any of it have to do with telling a good story? I really liked Rosettaeven if it cinematoographe “officially” dogme, and love Breaking the Waves.

I think it’s a case by case thing. Some might rely on what comes from elsewhere cool soundtracks.

It’s just that I think most of us make our own life soundtracks of what we hear that it becomes a part of us, and not “slipping off elsewhere”. I wanna go elsewhere. It isolates your film from the life of your film music delectation.

It is a powerful modifier and even destroyer of the real, like alcohol or dope. Two types of film: I’d never been able to put into words the difference between theatre and cinema.

I see it like real life versus stories. The closest we can get to seeing how something really happened, not just how we colored it.

The closest we’ll ever get to seeing in someone else’s brains. I love actors ahem or models ’cause even though they can’t totally be someone else, it is still like that Cijematographe Bresson secret desires catching on. Even if they aren’t real. I don’t care if they are playing someone real or fake. I wanna know those secret wishes too.