Rober Breson — разлика између измена
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Ред 9:
U početku kao [[slikar]] i [[fotograf]], Breson je napravio svoj prvi [[film|kratki film]], „-{Les affaires publiques (Public Affairs)}-“ [[1934]]. godine. Za vreme [[Drugi svetski rat|Drugog svetskog rata]], proveo je godinu dana u zarobljeništvu, „-{Un condamné à mort s'est échappé ou Le vent souffle où il veut (A Man Escaped)}-“.
U svojoj pedesetogišnjoj karijeri, Breson je napravio samo 13 dugometražnih filmova. Zbog njegovog podrobnog pristupu pravljenju filmova i njegovoj nekomercijalnoj preokupaciji. Teškoće nalaženja fondova je takođe bilo od velikog uticaja.
'''Stil i Teme'''
Bresson's early artistic focus was to separate the language of cinema from the theatre, which often heavily involves the actor's performance to drive the work. With his 'actor-model' technique, Bresson's actors were required to repeat multiple takes of each scene until all semblances of 'performance' were stripped away, leaving a stark effect that registers as both subtle and raw, and one that can only be found in the cinema.
Some feel that Bresson's Catholic upbringing and Jansenist belief-system lie behind the thematic structure of most of his films. Recurring themes under this interpretation include salvation, redemption, defining and revealing the human soul, and metaphysical transcendence of a limiting and materialistic world. An example is his 1956 feature A Man Escaped, where a seemingly simple plot of a prisoner of war's escape can be read as a metaphor for the mysterious process of salvation.
Bresson's films can also be understood as critiques of French society and the wider world, with each revealing the director's sympathetic if unsentimental view on its victims. That the main characters of Bresson's most contemporary films, L'Argent and The Devil, Probably (1977), reach similarly unsettling conclusions about life indicates to some the director's feelings towards the culpability of modern society in the dissolution of individuals. Indeed, of an earlier protagonist he said, "Mouchette offers evidence of misery and cruelty. She is found everywhere: wars, concentration camps, tortures, assassinations."
In 1975, Bresson published Notes sur le Cinématographe (most commonly translated as "notes on cinematography"), in which he argues for a unique sense of the term, "cinematography". For Bresson, cinematography is the higher function of cinema. Whereas a movie is in essence "only" filmed theatre, cinematography is an attempt to create a new language of moving images and sounds.
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