Scribd Logo
Upload

Welcome to Scribd!

  • 1972 TransFilmSeriesNotes PDF

    Uploaded by

    Vero Mena
    6 views3 pages

    Original Title

    1972-TransFilmSeriesNotes.pdf

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    6 views3 pages

    1972 TransFilmSeriesNotes PDF

    Uploaded by

    Vero Mena

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 3
    Transcendental Style in Film BRESSON DREYER a ee rec rea ea ee ane rena Ce Cn ann ce ees eee eg Rea ee nes Poke ee eee OP eYS Schrader, who coordinated this series and wrote the program Doe a rte aa eet eo ces POS nee Ome Re eae er Ing feature to be shot in the Hudson Bay ares, He will person So eee RCT anes ‘Admission to the fila in this series will be $1.00. for eneh oe ce ee cae six double feature programs. ‘TRANSCENDENTAL STYLE IN FILM PROGRAM NOTES Trantcendeal Sle: A Primer “he notion of “transcendental ste in fm’ i based’ on two premise (1) there are spontaneous exresion a {he Hoty or transcendent ee cre, a ea dee cand expanded in the wings of thelogan Nivea ‘le and) there are univers stati ors and ses fommon to all eure a theory explored by aesthetician Netnch Won piceurn,Tarscondotl Sope t Fm pont at ther is eommon fim stl we by varios fakes ier {raters to eres the tamcendent. “Athough tansendenal syle Tike al sancendental ary sve toward the efile ap ivisble-tying 10 bring wt close wo the inefable and nisl a words fad inugs can tke oar fr eer neil nor ble ite Trmsendental syle ist an foremost sss it te specie fm echaques for speite parpom. A Thou, the end on can ely postulate Row eanscen Aen syle actly “works” ea ewer, Delo at fin, bean cvefllyanayae and’ deine he meant ‘ich ring hi to that eb "te tacendera yl in Gln sen at tps in the fins of Yasuo Oru inthe East and Robe Breson inthe Won, andy toa lower exten: inthe fm of Cal Dreyer, Roberto Rosin, Bud Boeticher and others Staring fom alien clea aod clog nes, the fimentiers have foe remataby common fim Though ach of thee femaken as song and ‘elible yomonal aod ula tat more mpar fant hi sage, Ie scene tron to dover hoe they fe lke euer han how they ate diflereat. Ther unique {inliy ste one which bens them fopther ir bi Spo camscend.pesonaity and care though ye ‘Andie the ElSieAVOtn method which cam define “The wamcendenat ale i fll has thie sage: the cveryiey, Sepa, an0) sans, Thcph techies of Titatian and rowicton the everyday agets tat the Inver cold actus minutucorened world of eran toe tno pono ection or reson te Io ammencne puso Bia ardeed cerydey Tere mo reson for th as SBa lense, yor it existe noneices. Disparity cl cs in 2 decnive action, an secon (each an eying) in Which the passion actully ees through the unemo Tina structure of everyday. The decbive ston 6 te frac erent ofthe filmy ie dua naar isreveaed, nd the mower mast accept or reject the duly (the Sait, or example, thar the Holy ca find expres fatal word Tn sa the for of he fl ceuens eo the hard sy fastion of the everydsy-but with 3 new purpore. The ‘weld Uke ce was, bat now one waded th the tracendent ie jst benesth every realistic sti The thee stages of eanscendenal syle corerpond 1 he ‘lee Zen spor: "When {began to study Zen, move tain were mounting when I thought | undawtoed 20, Toowledge of Zn, oucsina were aun mountain ‘As cacendenal sive takes fleet ener the tine spa of 3 extarelegth motion pictore, tt gradually ft ices eptiy tnd eplo ie|tre oes ot Sssteicn Wiel Woringer with absracton. Alm (of anscendeoal ye He ny fin, bps as an exper fence, bur it ends as an expression. "Te purpose of tan Sento sje isnot to make You emote Dut to take {you undestend. The eave ager of manecendentl syle Ie desighed to gradually replace empty wit sarees, For the Pace Film Archive film prim on Tian seenentl Sipe Fm, I suggested 8 seer of dow Webils Thee couplings are not abaya at idelly matched a2 one could hope fo, but they do ge the ewer the upportnty ta compare scemingy argent fie by syle, rather tan, a8 anually done, by theme, shaneter period, or sitetror. Where els could Robert ‘reson and Badd Boctcher share n commen platform? Fekpocke Tokyo Sry ‘te snd Bron a far apt a as rom ese seemingly. The jestpostion of Pctpoctet and Tokyo reson and Ore they ha diferenesoncepions of mam nature, feedorm, dest, sfeing-mant cry mete Gal conclave. tn Puctpocket and Toye Story the mest suing ditference i resion and On's opposing stndes ward the funy’ in gener, and the mother in pari Tokyo Story, Whe all O's Sh sactred around the fy etry emphasizes repetition and yey trin fan ie daytoday occurences and mundane rvewations repeat atd return, smoooceably bulding fat moment when & cteion wil emerge fom thse Scmmenpace crn, In this sese, Or Ses nt Be Stor, tepetcly sing then aot only ina singe fim, ihr th figs aftr flim Por Ons sanacendence 3 com ound acti the indie! reaches awareness by pat ‘pution witha 2 pup. In. Tokyo Stony the mocher ts {he ner of te fay ni; er saera die send the aca oo cir ip to Tokyo, and i through bet eve thar the father and diughteriaw cam ect on the ny tnogenronal meeting pound 4 muta Zen 3 pane of He “Tia Tichpocter, Michels mother is an encumbrance athe than an ioment. The fay i par of the vale Griteas the Braver provagoise mast pas rough fou to enlgennent. Michel's mother only appar Ine‘ Pleipocter bat ie dear thi ber mueral CSncero and the way of Michels overwhelning Pus Som the dene to pkpocker, whieh ltr seplaced by ibe dese to loves Brno’ protagonist snd nthe {tion of the sng redeem the lonely salferng i {Gviduawho, ike Chis, Moses, ofthe ais, mst iter {Ele beener this word andthe other For Bresson, tt Sendence i indhadual ether han communal. reson ‘River in she solitary Chit, Calvary and resection the only ration of 1 Beson potato bis comm tty metphoral end comoprpie Therefore Breon, Uhike Orn “ges thro” hs acts, dining them dry 1nd Simising tem ar ve fin ur the smarter erween East and West are more ‘important tn the dferencer For both OF and Bresson the poth to transcendental swarenee ie iesspaby one of Syl The characters played by Martin Lane i Pick Doctor and Setsko Hast im Tokyo Story Doth Progrer Srey undergo the ors of tuneendenal syle every {hy apy chive ction, sass Te deci ction in 24 fim wands eo Ho's burt of teas Tokyo Story hd Lane's secopeance of Mark Greens lve in Pack focket, Bosh ae seeming plane event Nothing {Seth ax prepare he viewer forthe esac a. ‘oe dey ‘senental sje ar taken tl ‘The Til of Joun of Arc! “The Pasion af Joan of Are ‘Beson and Dryers Joan of Arc llns were custom wal for comparizon. Bodh relate Joan of Ars tal int lately staittforward tanner) both ae interested in factual evidence, exsing tinserpe and Pitre mine te. And both are concered with how Joan rss above, trnicend yon wl btn and corporeal. “he ferences are quay stkng, Dreyer’ The Pos sion of Joon of Ae only parally employs transcendental nye (ondentandable since at the te of Joaw of Are Dreyer wat piecing what later can beled tancen dental spe) Like the Gothic art, Dreyer ian sett of ‘dupa, he i only momentary abe to aciewe sas Ihe fie. Dreyer seme more interested i Joan's torment fers to exaggerte Joan's physical torment, over and ‘ver agin joan set nthe middle of an expeesonitc tables oteaue faces aed arching condor lee ever and ually oppress the fightened heroine, Dreyer kes Joun tothe edge of eancendence, then exhausts he B- inal dives if Gothic foney. Like he Gothic oH Dreyer pushes dpaity co it init, then rere fom sass, Dreyer Jam raked with torment, both pct tnd cinema she i apa apped in corpora Bonesty on deviowsoes il simply in expresions™ Breyer shows no rea dette to peony alrite tat pany bo stead erage cand del on Breswn, om the ober band, Hike x Byrne att pss is Jou tle ito stasis dary meet ‘nove han’ stepping. stone stan for hi, Whereis Breyer ses Joan the ered, steig lamb, Bresso sews her isthe resurested, gloribed con. Breton fas ‘Seamed Joan tial ofall of Dreyer’ expresonie eine go ae the goteave faces, the reedig cho, the sweeping lowange acting shots Altvogh Broan ses the techniques of span, be doesnot Tet them ‘come an en Io themes Ins only seconded com beat on Dreyert The Pasion of Joon of Are, Breen Sig" enderennd tha at the ee ths fn ws sal ‘ointion, but tow {on ace all the atom’ borble Teooneiesand‘terosencken pases which make me "The respective endings of The Pasion of Joan of Are and The Ti af Joan of ae eling. Dreyer plays ie ‘oth ayer on one and he ends his fm wih exper Sonfsie fot snd shass a8 Joan bums, on the other, Be ferme to the ake and. pans up soward the heweas Brewon dct, not use obvious comers technique to “punk she viewer gue upward, At the dxe of Brae sn film, the pasie Joa led the stake, chained, Mele nder Iveta The smoke cers and al that Semains ie the shared ake and ging ans: oun brcy no longer tere For Breson no editor teh ‘ies ate ecanarys the Wewo ether aecepts ths dec She momen or he doen. the yl as done its work of iehaan ake or levee Diary of » Country Pret! ‘Camanche Son Nether Budd Roctcher nor Rabesto Roslin edi coned in Trnttndentl Sint Pn, the book's 26+ non | fa, was safficenty vealed ater the dcoion Uh thee fimier Dot Roertcker and Resin. how Ser te valuable addons to te anament and | wh Stott me tobe them fice hse et simarses ate there, however lng and soughtproneing och Breson and Boetcher pu dei full wiht behind «singe minded, selina, protagonist Randolph Scott in Boecicher' Bresson’ protagonis are products of di ‘hey xt ins tld wod they ae incr datedby an exteor, overlong Paton 1 the protgonsa' of Diny of « Coun Comanche Staton ate not extordiny (Lag particu effective of even humane pre 3 the tougher man of fae de), bot thet fonfidence and even arogince i sid be represent an “Exteroe” moral ener, Unlike Breson, Boctcher cannot be dese arist of tramcendenral yc, but he dost ule Uncool) just enough of to make the ter unguc fo 'Areiean cinema lonely Pri wandering anacroniticly through the A ‘Sipe, bs wend dow oot re ic Ne

    You might also like