
Published online:
21 September 2017
Published in print:
10 April 2017
Online ISBN:
9780226414232
Print ISBN:
9780226413907
Contents
Cite
OXFORD ACADEMIC STYLE
Cameron, Sharon, 'Robert Bresson’s Pathos', The Bond of the Furthest Apart: Essays on Tolstoy, Dostoevsky, Bresson, and Kafka (Chicago, IL , 2017; online edn, Chicago Scholarship Online, 21 Sept. 2017), https://doi.org/10.7208/chicago/9780226414232.003.0005, accessed 24 Apr. 2025.
CHICAGO STYLE
Cameron, Sharon. "Robert Bresson’s Pathos." In The Bond of the Furthest Apart: Essays on Tolstoy, Dostoevsky, Bresson, and Kafka University of Chicago Press, 2017. Chicago Scholarship Online, 2017. https://doi.org/10.7208/chicago/9780226414232.003.0005.
Abstract
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.
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