Late Bresson and the Visual Arts
Title
Late Bresson and the Visual Arts
Subtitle
Cinema, Painting and Avant-Garde Experiment
Price
€ 98,99
ISBN
9789048533992
Format
eBook PDF (Adobe DRM)
Number of pages
272
Language
English
Publication date
Dimensions
15.6 x 23.4 cm
Table of Contents
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Introduction Bresson in Color: Reinventing History through Avant-Garde Experiment Part 1: Classical and Post-War Painting Chapter 1 Bresson's Debt to Painting: Iconography, Lighting, Color, and Framing Practices Chapter 2 The Turn to Post-War Abstraction: Action Painting, L'Art Informel, and Le Nouveau Réalisme Part 2: Avant-Garde Experiment Chapter 3 Bresson's Flirtation with Surrealism: Sexual Desire, Masochism, and Abjection Chapter 4 The Design and Pattern of the Whole: Constructivist Painting and Theatre Chapter 5 Between Constructivism and Minimalism: Bresson's Ambivalence Toward the Modern Bibliography Index
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Reviews and Features

"Watkins's approach refreshingly expands the scope of Bressonian scholarship ... Late Bresson and the Visual Arts sheds light on a part of the filmmaker’s career that has often been unjustly neglected, by way of commendable, high-level visual and intertextual analysis." - Marco Grosoli, H-France Review, Volume 20 (2020) "In his excellent book on Late Bresson and the Visual Arts (Amsterdam University Press 2018), Raymond Watkins argues that a blue-painted door evokes the work of Yves Klein. ... Watkins discusses the centrality of Schöffer's Lux 1 piece in the art museum sequence of Une femme douce = I fully concur with Watkins's reading." - Roland-François Lack, University College London, The Cine-Tourist

Raymond Watkins

Late Bresson and the Visual Arts

Cinema, Painting and Avant-Garde Experiment

Critics have largely neglected the colour films of French film director Robert Bresson (1901—99). To correct that oversight, this study presents a revised and revitalised Bresson, comparing his style to innovations in abstract painting after World War II, exploring his affinities with such avant-garde traditions as surrealism, constructivism, and minimalism, and illustrating how his embodied style leads to a complex form of intermediality. Through that analysis, Raymond Watkins shows clearly that Bresson still has a good deal to teach us about cinema’s distinctive ability to draw on painting, photography, sculpture, and the plastic arts in general.
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Author

Raymond Watkins

Raymond Watkins currently teaches at the Pennsylvania State University. He received his Ph.D. in comparative literature and cinema from The University of Iowa, and has published in Cinema Journal, Studies in French Cinema, and The Quarterly Review of Film and Video.