Close-ups of objects and actions are incriminating and clinical. Instead, he was interested in exploring themes of redemption, a bourgeois preoccupation that did not coincide with New Wave theories of "distancing" and "unrealization." In elucidating the "road to redemption" in Pickpocket, Bresson employs the devices of ellipsis and temporal distention. Bresson was not attempting to contribute cinematically to the ideological canons of the period. In fact, contrary to the expanding discipline of semiotics during the late 1950s and early 1960s Pickpocket was so sufficiently depersonalized and unrealistic as to avoid being regarded as an example of a film that articulated the way in which film was a "language system." The filmmakers of this genre (as it is now recognized) were concerned with the deconstruction of the "Hollywood" fiction film and its idiosyncratic stylization of cinematic reality. Pickpocket, made in 1959 by Robert Bresson, was not considered a "New Wave" film because it did not deal with the problems of what Jean-Luc Godard termed "psychological realism." Pickpocket did not address the then burgeoning question of cinematic reality, whether this status must be assigned according to the perception of reality or in terms of its impression. 5., 15 March 1998.ĭurgnat, Raymond, in Film Comment (New York), vol. 465, October 1996.ĭick, Jeff T., in Library Journal, vol. 419, January 1996.įilm en Televisie + Video (Brussels), no. 400, June 1994.Īudé, Françoise, and Louis Malle, and Michel Ciment, " Louis Malle," in Positif (Paris), no. Schrader, Paul, " Pickpocket de Bresson," in Positif (Paris), no. Predal, R., in Avant-Scène du Cinéma (Paris), January-February 1992. Westerbeck, Colin, Jr., "Robert Bresson's Austere Vision," in Artforum (New York), November 1976.īensard, Patrick, "Notes sur Pickpocket," in Camera/Stylo (Paris), January 1985. Burel" (interview), in Cinéma (Paris), July-August 1974. M., "Matter and Spirit in the Films of Robert Bresson," in Film Heritage (Dayton, Ohio), Spring 1974. Prokosch, M., "Bresson's Stylistics Revisited," in Film Quarterly (Berkeley), vol. Skoller, Donald S., "Praxis as a Cinematic Principle in the Films of Robert Bresson," in Cinema Journal (Evanston, Illinois), Fall 1969.Īrmes, Roy, "The Art of Robert Bresson," in London Magazine, October 1970. Susan, "Spiritual Style in the Films of Robert Bresson," in Seventh Art (New York), Summer 1964. Green, Marjorie, "Robert Bresson," in Film Quarterly (Berkeley), Spring 1960. Guerrini, Loretta, Discorso per una lettura di L'argent di Bresson, Rome, 1992. Hanlon, Lindley, Fragments: Bresson's Film Style, Cranbury, New Jersey, 1986. Sloan, Jane, Robert Bresson: A Guide to References and Resources, Boston, 1983.īordwell, Narration in the Fiction Film, London, 1985.Īrnaud, Philippe, Robert Bresson, Paris, 1986. de, Robert Bresson o cinematografo e o sinal, Lisbon, 1978.Įstève, Michel, Robert Bresson: La passion du cinématographe, Paris, 1983. Schrader, Paul, Transcendental Style on Film: Ozu, Bresson, Dreyer, Los Angeles, 1972. 1, New York, 1970.Ĭameron, Ian, The Films of Robert Bresson, London, 1970. ![]() ![]() Publicationsĥ reviewers, The Films of Robert Bresson, New York, 1969.Īrmes, Roy, French Cinema Since 1946, vol. Burel editor: Raymond Lamy sound engineer: Antoine Archimbault production designer: Pierre Charbonnier music: Lully.Ĭast: Martin Lassalle ( Michel) Marika Green ( Jeanne) Pierre Leymarie ( Jacques) Jean Pelegri ( Instructor) Kassigi ( Initiator) Pierre Etaix ( 2nd accomplice) Mme. Producer: Agnès Delahaie screenplay: Robert Bresson photography: L. Production: Lux Films: black and white, 35mm running time 75 minutes.
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