Abstract
Robert Bresson's cinematography allows him to show the affordances that things and situations have for characters in a film. By intimating these affordances, Bresson authentically presents the affordances as well as the characters. The fact that Bresson views and conceives of his `actors' as models, rather than as malleable actors, illustrates, again, an effort to authentically film real persons in real situations. Recognising people authentically is done in real-life through a reciprocal gaze, which is not automatically available to the camera's lens, an apparatus that does not look back at one. Perhaps, Nuri Bilge Ceylan's approach fits this effort better: not a writing with sounds and images, but an intuitive use of homeliness.
Original language | English |
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Article number | 225 |
Pages (from-to) | 365-386 |
Number of pages | 29 |
Journal | Aesthetic Investigations |
Volume | 3 |
Issue number | 2 |
DOIs | |
Publication status | Published - Jul 2020 |
Keywords
- Robert Bresson
- Nuri Bilge Ceylan
- film
- reality and fiction
- philosophy of film