How much do we really understand about Bresson? a painter? an author? a director? Or a lesser-known but extremely great Frenchman?
French film master Jean-Luc Godard said of him: "Robert Bresson is to French cinema what Mozart is to Austrian music and Dostoevsky to Russian literature."
Russian film master Andrei Tarkovsky also once said: "If Robert Bresson ranks first in film directors, other directors can at most be ranked ninth or tenth, when I think of this point, and I'm terribly frustrated."
DH: Bresson worked like this all his life. He never looked for professional actors. Still, Dreyer chose the actor. Obviously, there was less of Le Pen's arguments, like "They're not going to get ahead, it's a shame they won."
Bresson is the number one intellectual among directors, not only because he likes to adapt world famous books, but mainly because of his thorough and philosophical film language, which is a technique that ordinary directors cannot use.
We use the eyes of others to watch this donkey's short life, abused, trafficked, and ultimately killed. Bresson's minimalism is the biggest difficulty in understanding this work. The simple dialogue and the brief explanation of the plot, but the amount of information in each shot is huge, and the information is hidden in the shot. When the amount of information expressed by the shot is insufficient Then use dialogue to express content information. Bresson pays attention to rhythm. In a work, whether "characters" or "story" will be the main focus, Bresson is extremely stingy with the use of language, so his works are also successful. The art of audiovisual appreciation. As a kind of existence, donkey Batsa has actually witnessed the greed, violence, and indifference of human beings. Those eyes are always filled with sadness and terror. It has seen people quarrel, heard women cry, and won People's applause, it has been beaten with whips, it does not speak, but it has endured and witnessed the suffering of the world. When the heroine was violated, she lost her last dignity. Like a donkey, she changed from a human to a tool, a tool of trade, a tool of love, and finally became a victim, offering sacrifices for the entire society. Each has many ill experiences, each has a humble life, and each cannot escape the fate of being dominated. Whether it is Batsa or the heroine Mary, they are both tools and victims. And in the final death, even Batsa, a donkey, is better than Mary, who chooses to disappear forever after losing all her dignity, she is the sacrifice of the sinful world, together with the death of the last father, the loss and sorrow of the mother, constitute the destruction of a family. And Batsa seems to have found a place among the flocks, the sweet bell sound, closed her eyes tightly, and returned to the original place, and Batsa is a sample of the heroine, this world has never been short of miserable things , we sympathize, but there is nothing we can do about it.
Regarding the simplification of lines and the omission of pictures, it is necessary to rely on the eyes of fans to fully observe the image. How did Batsa enter into human social life? The film language itself is prepared for Batsa. When a donkey enters the video world, he will not Again a simple donkey, but a reflection of human beings in real life, anthropomorphic mode, if Bresson just brought a simple animal to the crew, then this "minimal art" film would be meaningless, in Several times in the film, I saw Batsa's expression very human-like, and through its eyes, I felt helplessness, pain, and hideousness. If you want to put it in modern photography, Batsa is definitely a beautiful and melancholy artwork.
The so-called "film culture" Bresson's work is not very suitable for "film fans" to watch. It was created for professional bachelors and directors.
Bresson: My films have two kinds of sound, the synchro sound, and the post sound. Late sound is more important. I value them as much as I look at actors. For example, when you walk down the street, you hear hundreds of cars passing by. You'll think that's not what you're hearing. Because, if you record them on tape, you'll find that they're just a bunch of jumbled noises. So, when I record cars, I go to the country and record each car in a very quiet environment. Then mix it up. At this point, it's not what you actually hear on the street, but what you think you hear.
Bresson: According to Leonardo da Vinci, an object has ten properties: clarity and darkness, color and texture, shape and position, distance and proximity, movement and stillness.
Bresson: In Hedin, we all stayed at the Hotel de France. At night, I repeat Napoleon's words over and over again: "I plan my battles in the spirit of my sleeping soldiers."
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