Transcendental Style In Film / Edition 1

Transcendental Style In Film / Edition 1

1.0 1
by Paul Schrader
     
 

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ISBN-10: 0306803356

ISBN-13: 2900306803351

Pub. Date: 08/01/1988

Publisher: Da Capo Press

'Schrader believes that directors from varied cultural backgrounds have, by their approach to specific films, created a common style of three great director's individual choice of subject and philosophical assumptions and can be recognized through detailed criticism.' -Library Journal

Overview

'Schrader believes that directors from varied cultural backgrounds have, by their approach to specific films, created a common style of three great director's individual choice of subject and philosophical assumptions and can be recognized through detailed criticism.' -Library Journal

Product Details

ISBN-13:
2900306803351
Publisher:
Da Capo Press
Publication date:
08/01/1988
Series:
Quality Paperbacks Series
Edition description:
New Edition
Pages:
208

Table of Contents

Introduction
1(14)
Ozu
15(42)
Bresson
57(52)
Dreyer
109(40)
Conclusion
149(22)
Notes 171(10)
Selected Bibliography 181(8)
Index 189

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Transcendental Style In Film 1 out of 5 based on 0 ratings. 1 reviews.
Guest More than 1 year ago
For some reason or other, this book remains, thirty years after its publishing, an authoritative introduction for newcomers to Bresson and Ozu (not so much to Dreyer). Having spent several years studying French and English-language Bresson scholarship and criticism, I must encourage those who are looking for a reliable way to 'insert' themselves into Bresson's films to begin elsewhere. Schrader's book has not aged gracefully. Its primary shortcoming is that, in the case of the chapter on Bresson, it is sadly outdated. First and foremost, for a book that boasts to offer a 'theory' of (transcendental) style, it offers little more than an interpretation of a select group of Bresson's films (the so-called 'Prison Cycle') and their stylistic tendencies. While some of these stylistic observations remain strong, they are covered over with the most outrageous of readings of Bresson's films that the observations themselves lose their initial value. Published in 1972, the theory that Bresson's style is adapted to 'express' the 'Holy' fails to account for the filmmaker's later, almost atheistic, color work, like 'Lancelot du Lac,' 'Le Diable, Probablement' and 'L'Argent.' In order to convince us that this theory applies, Schrader would have to write a new edition of the book, which would have to make sense of the 'anti-transcendental' leanings of the last stage of Bresson's career. I doubt whether this could be accomplished. He would also, I believe, need to address an issue raised by David Bordwell in 'Making Meaning,' in the chapter 'Why Not to Read a Film.' Schrader fudges the line between hermeneutics and theory, offering not a 'theory' that makes sense of Bresson's 'style,' but an interpretation that periodically makes use of formal and stylistic observations. In short, there are many shortcomings to Schrader's scholarship, here. To those new to Bresson, I'd have to suggest a few other texts that are more sober in their methods and conclusions: Kent Jones' Introduction to his BFI Modern Classics book on 'L'Argent,' Andre Bazin's essay on Bresson's style in Volume I of 'What is Cinema?' (which remains not only one of the best pieces on Bresson, but one of Bazin's best as well), and last but not least, the collection of essays edited by James Quandt (particularly the essays by P. Adams Sitney). The best essays on Bresson contextualize his stylistic development, noting that his 'autere' style emerged in part as a response to the French 'cinema de qualite.' Even Manny Farber's short write-up on 'La Femme Douce' in 'Negative Spaces' is more sound than Schrader's entire chapter on Bresson.