Cutting Room
Transcendental Style in Film: Ozu, Bresson, Dreyer by Paul Schrader

Transcendental Style in Film: Ozu, Bresson, Dreyer by Paul Schrader

“Bresson, on the other hand, like a Byzantine artist, pushes his Joan relentlessly into stasis: disparity is never more than a stepping stone for Stasis for him. Whereas Dreyer sees Joan as the crucified, suffering lamb, Bresson views her as the resurrected, glorified icon. Bresson has cleansed Joan’s trail of all of Dreyer’s expressionistic excesses: gone are the grotesque faces, the receding arches, the sweeping low-angle tracking shots. Although Bresson uses the techniques of disparity, he does not let them become an end in themselves. In his only recored comment on Dreyer’s The Passion of Joan of Arc, Bresson said,”I understand that at the time this film was a small revolution, but now I only see all the actors’ horrible buffooneries and terror-stricken grimaces which make me want to flee.”

LISTEN >> Politics & Polls: Behind the Big Screen with Bonnie Timmermann
READ >> RAIDERS OF THE LOST ARK Story Conference Transcript (1978) George Lucas, Steven Spielberg, Larry Kasdan

READ >> RAIDERS OF THE LOST ARK Story Conference Transcript (1978) George Lucas, Steven Spielberg, Larry Kasdan

“Now, several aspects that we’ve discussed before: The image of him which is the strongest image is the “Treasure Of Sierra Madre” outfit, which is the khaki pants, he’s got the leather jacket, that sort of felt hat, and the pistol and holster with a World War One sort of flap over it. He’s going into the jungle carrying his gun. The other thing we’ve added to him, which may be fun, is a bull whip.”

WATCH >> Charlie & Jackie
WATCH >> Orson Welles: On the Nose
READ >> The Big Picture: The Fight for the Future of Movies
GO TO >> Filmworker @ Metrograph
WATCH >> DP30: The Place Beyond The Pines, co-writer/director Derek Cianfrance
READ >> Martin Scorsese on Rotten Tomatoes, Box Office Obsession and Why ‘Mother!’ Was Misjudged
GO TO>> Hitchcocktober @ Village East Cinema