Can I Be Pregnant And My Womb Is Still Small

TRANSCENDENT IN THE CINEMA - OZU, Bresson, Dreyer

Author: Paul Schrader Publisher: Donzelli, Rome, 2002 Collection: Essays, Arts and Letters Pages: 194 Size: 14.5 x 23 Price: 17, 56 € Language: Italian

Contents: Introduction Ozu Bresson Dreyer Conclusions Notes Bibliography Index

Schrader will demonstrate the existence of a "transcendental style" can evoke the unspeakable and the Invisible (ie the unsolvable mystery of human existence) through the specific language of the medium Cinema: films such as "preview of the incoming attractions of the Soul" (see Cigarette burns on the frame). Moreover, this style is called "transcendental" as "shared form of expression" audiovisual Esperanto unites filmmakers entirely different nationality, cultural background, religion, professed, career, popular genres, and so on. The author of the paper is aware that he carried in dangerous waters: witness the thousand precautions to distinguish terminology and methodology of 'Introduction . And it is the strength of this quick start section that prevents Schrader sinking in the swamps of literary impressionism. Beyond the dubious thesis of departure, the argument schraderiana never loses the character of science: aesthetics, film analysis, history of Cinema, art and religion are called to the witness stand and questioned to convince us of the existence of a "transcendental style". In this sense, the iconography is particularly effective in helping the reader to grasp the similarities between Ozu and sumi-e painters between Bresson and Byzantine art. Those who expect a poetic manifesto of the future of film production Schrader will remain quite disappointed. Much better than surrender to the crystalline prose and compelling arguments of a movie buff who sees the exercise as a critical "discourse on popular items." Michael Guarneri