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The Bond of the Furthest ApartEssays on Tolstoy, Dostoevsky, Bresson, and Kafka$
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Sharon Cameron

Print publication date: 2017

Print ISBN-13: 9780226413907

Published to Chicago Scholarship Online: September 2017

DOI: 10.7208/chicago/9780226414232.001.0001

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Robert Bresson’s Pathos

Robert Bresson’s Pathos

Chapter:
(p.119) 4 Robert Bresson’s Pathos
Source:
The Bond of the Furthest Apart
Author(s):

Sharon Cameron

Publisher:
University of Chicago Press
DOI:10.7208/chicago/9780226414232.003.0005

This essay examines how Bresson’s cinematography captures phenomena outside a situating placement, specifically the ways in which The Trial of Joan of Arc, Mouchette, and A Man Escaped dismantle characterlogical, ideological, and taxonomic understandings of the essence of a thing. Deleuze’s concept of the abstract face and Eisenstein’s theory of “pathos” (the ecstatic leap whereby a thing exceeds its ordinary conditions, as well as the leap out of the self experienced by the spectator when he witnesses such a breakthrough) illuminate the terms in which in Bresson’s films phenomena must be identified in relation to what lies beyond their ostensible boundaries.

Keywords:   Robert Bresson, The Trial of Joan of Arc, Mouchette, A Man Escaped, Sergei Eisenstein, Gilles Deleuze, pathos

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