Model. Two wide awake eyes in a mobile head, itself on a mobile body.
Robert Bresson
Films can precisely be made by by-passing the will of those who appear in them, using not what they do, only if what they are.
Robert Bresson
Robert Bresson, a superb French film director whos unique techniques in displaying flawless world, with deep simplicity marked a total unsanded era of artistic film. Bresson rejected theater, and its fakeness and strived only to project his possess universe, and in turn his own real. Bressons universe is not that of effortless reality. It differs not only because it is an artistic universe, an expression for his art outcries, but because it makes no attempt to pass for the everyday universe. (Ayfre, p.42) In Bressons A Man Escaped (Un Condamne a mort sest echappe), a film which tells us the true story of a French Lieutenant who fly from a German prison, just hours before his execution; it is seen instead clearly. Bresson projects this film according to his own reality and his own realism in many aspects. The most important of them all is his technique in directing the actors, (or models as he liked to forestall them), and what their performing reflects. This essay shall discuss the above, and shed light on the realism he projects through his models, with utmost simplicity.
Bresson rejected the species of matter created in films by the expressiveness of the acting. (Sontag, 62). He desired to capture the stub of the human soul, which led him to remove anything fake, which he viewed professional acting as, therefore leading him to always hire non-professional and non-beautiful models in his films. In A Man Escaped, that model was Francois Leterrier. Bresson had the actual foeman fighter Andre Devigny present when shooting the film,
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