in Film modernism
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There are three film-makers that are present in every Rivette film: Renoir (for the sense of theatre and improvisation and the idea that the entry into the false, into play and theatre and roles, is a path to the truth of things), Rossellini (for the virtues of the imperfect, the heterogeneity and mismatch of different realities, to chance and the arrival of the miraculous, the secret, the mystery...suddenly, without apparent cause as the source of the energy and delight of cinema) and Bresson (for the purity of cinematic forms, mise en scène as an instrument to order space and time, to seek out and discover what the reality of things might yield, every film then, an experiment).

These are less influences than presences. It is as if the cinema is a vast house and in the house a family and as you go about your business, you encounter the other members of the family and they remind you of things, and you chat with them, and you remember.


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