By Robert Bresson
Translated by way of Jonathan Griffin.
Director of The Trial of Joan of Arc, Pickpocket, A Prisoner Escapes, Diary of a rustic Priest, funds, and lots of different vintage movies, Bresson is, conveniently, essentially the most remarkable cinematographers within the heritage of movie. From 1950 to 1974, he wrote notes for his personal use, and over 450 of these short reflections have been accumulated for this narrow quantity. The informal yet succinct observations, awarded right here 3 or 4 to a web page, include brief paragraphs or unmarried sentences. a few are fragmentary words: "Passionate for the appropriate." a few are self-directed: "Apply myself to insignificant (non-significant) image." a few are maxims: "Empty the pond to get the fish." a few are quotations: "Cezanne: 'At each one contact I probability my life.' " a few are questions: "Is it for making a song consistently an identical track that the nightingale is so admired?" All display a scintillating interest and quest for perfection.
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Extra info for Notes on the Cinematographer
Example text
10 But in haunted houses doors refuse to open or close and register a fundamental spatial anxiety that portends the sequestration or return of something hitherto feared and partially forgotten. 37 Bogeyman: opening the door. Bogeyman: inside the closet. Hide and Seek: point of view from inside the closet. The closet or cupboard is a particular instance of interstitial domestic space that figures prominently in the scenarios of haunting. The closet was, from the late fourteenth to the nineteenth century, a place to withdraw to and to display precious 38 House: the facade.
Haunting implies a temporal disruption that has a de-structuring effect on perceptions and alters the significance and often the 35 shape of familiar spaces. The haunted house must be explored in order to trace and locate the source of the disturbance – but the exploration is an entry into other than purely spatial dimensions. In films this process of exploration is undertaken by way of the camera, the edit and the design of the often discontinuous set. The journey through the house too is characterized by visual incoherence and emotional disorientation.
The rootedness in the past of the dark house is a persistent theme. Change reminds us of generational antagonisms, but also of the inherited nature of property that renders it a repository of events and memories brought into play by some crisis in the present. Benjamin describes this relationship between past and a present in which memory acts as a detonator that ‘flashes up at a moment of danger’. His writing is particularly sensitive to the emanations of obsolescent objects and locales – ‘the revolutionary energies that appear in the outmoded’.