Vivian Sobchack, “Embodying Transcendence: On the Literal, the Material, and the Cinematic Sublime,” Material Religion 4 (2008): 194-203. Published 17 years after her important The Address of the Eye, this article…
Brian Price, “The End of Transcendence, the Mourning of Crime: Bresson’s Hands,” Studies in French Cinema 2, No. 3: 124-135. Price’s essay is quite important in Bresson criticism and does a…
Donald S. Skoller, “Praxis as a Cinematic Principle in Films by Robert Bresson,” Cinema Journal, Vol. 9, No. 1 (Autumn 1969), 13-22. Skoller begins by defining “praxis” as an unfolding of…
Diary of a Country Priest (dir. Robert Bresson, 1951) – As a follow-up to Les Dames du Bois de Boulogne, it stands as a rather significant shift in style and…
Les dames du Bois de Boulogne (dir. Robert Bresson, 1945) – So much to say about this, too little space/time. This is early Bresson, his second feature film. In many ways,…
Mouchette (dir. Robert Bresson, 1967) – And that completes half of Bresson’s oeuvre. Still need to see the first two and the last four. Mouchette contains many clear similarities with…
Just some notes at the outset. It’s quite easy to see the influence of Dostoyevsky and Robinson Crusoe in this one. The latter has to do with the film’s narrative…
There are many and eclectic takes on Robert Bresson’s work, and only a little on which there is unanimity. The consensus is essentially that his films are marvelous, beautiful, formally…
