Robert Bresson (1901–1999)

Meditations on film-making by one of the masters of the moving image. In short notes, using the fewest possible words, Bresson offers pointed, precise koans on his aesthetic and "method", which involves dispensing with manufactured scenes and histrionic performances in favor of authentic emotion, "models" rather than actors.

This small booklet should be in the back pocket of everyone from the most successful directors to aspiring movie makers, present on every film set to remind those who show more work in cinema of the supremacy of the camera eye, especially when employed and wielded by a true Master. show less

Por incrível que pareça é a primeira vez que leio esse livro, apesar de ser admiradora do cinema de Bresson desde tempos imemoriais, livro tal que também poderia se chamar Manual zen-budista do diretor de cinema e tal como toda religião e filosofia direcionada peca por um dogmatismo irritante.
Não me entenda mal, amo as escolhas específicas que fazem do cinema de Bresson singular, mas ler sobre isso enquanto ele diminuiu todas as outras formas de fazer cinema é deveras enfadonho, não show more à toa o movimento mais chinfrim do cinema, o Dogma 95, nasceu justamente daqui.
É por escrever coisas como essa que até hoje diretores de cinema de gênero não são levados à sério em suas artes, eles que não devem nada à maestria de um Bresson da vida. show less

Robert Bresson's NOTES ON CINEMATOGRAPHY are working memos that the great French director made for his own use. In all of them, Bresson reflects with a craftsman's insight on techniques - and beyond techniques to their philosophical and aesthetic implications. Not surprisingly, these acute reflections will not only sharpen a filmmaker's sensibility, but that of any artist in any medium. Bresson makes some radical distinctions between what he terms "cinematography" and something quite show more "cinema" - which for him is nothing but an attempt to photograph theater and use it for the screen. show less

Bresson offers a collection of profound insights into the true essence of filmmaking. Bresson’s arguments about what cinema should strive to be are compelling, and his expectations for his models/actors shed light on his unique vision for film.

His approach often depart from what mainstream filmmakers and general audiences typically appreciate. The challenge wasn’t rooted in style but in storytelling. Both Bresson and Tarkovsky advocated for filmmakers to push boundaries, experiment, and show more refine their craft by minimizing excess in favor of powerful imagery—creating pure visual storytelling.

It’s essential reading, filled with invaluable notes for anyone passionate about film. show less