روبر برسون : زن نازنین Robert Bresson: femme douce

25 سپتامبر! روزشمار لعنتی

We're dialectic

The first group Cinematograph Act

Groups in the nature of cinema itself , " Robert Bresson " and "mohamadreza Aslani " and "Yasujirō Ozu" " Jean-Luc Godard " and "Glauber Rocha" and " Chantal Ackerman " and "Roy Andersson" and " Julio bressane " and " Marcel Duchamp " and " Man Ray " and "Fernand Léger" and "VAL DE LO MAR" and "Zwartjes_ France " and " Nelson Pereira dos Santos " and ... Article 7 for themselves and follow the law as it is .Wholly radical principles ( and at the same time escape format ), speaking of faith ( not religion ) and a life of contemplation . Wants to understand the basics of faith and understanding . Why the slippage in the vote itself is sterile dialectic . And wants and anti- thesis of dialectic . We suggest that a few corollaries are . Objects are object-oriented. And the time interval. A binding activator.

Third on the backs of their hands ( bare bare bare the " Dos Santos " ), a third heart mohamadReza Aslani and Yasujirō Ozu and Robert Bresson . Julio Bressane that was ridiculed in the " aesthetics of hunger "

They all share one thing : escape

Our first principle is: escape . The custom of imposing censorship and humiliation .Another argument is that apart from the aesthetic and the opportunity is here.

Our approach is to escape the limitations of the rulers mocked , even if we do not have any effect on the theater ( And now that we're 6 years . )

Our training is inherently opposed to the brutish! Film makers like actors in the mirror illusion refugees are overwhelmed by Jean Genet . These are used . Like Kleenex are seemingly rosy. But are made from waste cartons . Listen to it and the object. Passive and inert. The smell of putrefaction and decay thoughts ...

Ironic that those rights ? Who is the underdog and the powerless tilling rights of withdrawal , how ... They gave us a theater of oppressed women, said on !However, the. The brutal attack in their first start .At the most basic image may depict women are somehow anti-democratic.The most private aspects of the lives of poor women to represent the most general form. In fact, a male and a pre-defined structure. She works in bed with signs that say they are in public places. These are public buses to bed and one woman is a woman with a tent (preferably black) in Dreams! Or just sleeping girl (negligence) against the Mirror (Image Genet Remember) will imprint his face with a scarf and a head cover that might arise. If we all ogle .

Maybe we are ignorant underdog! We do not work on behalf of the Real or Barcelona? (Barcelona very surreal to read!)

And as if insane world are equal. In fact, these hollow bones, the brain, the women even basic decisions - while sleeping alone - (animals in this advanced, there are women) are excluded, it is also full of tears in the rain. Weak and incapable.

This is a place for women and we think that we have always known them to cover and incubate them to determine . And female means. You do not have the ability to depict the truth because it is the most private aspects of human life? Why women sleep during the show ? It looks dwarf is rooted in TV and limitations . Our director, consumer-oriented and basically means " generation " knows, this restriction is captured .

Rather than wait a few craft ... And find a way to escape their Quickly falls into the trap of stereotyping and loves to Stupid character . Politicians Encourage They are awarded to and they are more Stupid to eat again . And to highlight the authoritarian structure .

She loves being a fool always a fool because he is a great inspiration. Nor Yılmaz Güney and Jean-Luc Godard nor Jorg Muller.

Standing is our tenet . On the form. Although we have love in my work and private lives of women, men and angels . That way, are rather arbitrary way : False .

We Self-made man and woman as well. We do not build her a new man ( forged ). We build relationships ( veritable ) and objects . Our creations .

First we have the anti- fascist and autocracy . Instead , women do not think ... Do not let the crying woman and Sentimentalism . Because its subject is a woman , not a sexual object and Consumable . ( As Calls for the exploitation show )

Bringing tears to the audience , not the woman . She is their lack of actions . There is no effect . He is not constructive , and always carries , according to Laura Mulvey .

Objective mere presence , the commodity is a commodity that only the eye is at risk of being seen . Woman trying to eat only at breakfast and frying meat and fish is . It is said that the kitchen theater . Images without even implicate the no ! It is different from Ackermann works Image female who wants to do routines in a structure . , And the woman bearing the author and not the interface . He gives meaning and perception , and the perception .

Group cinematography of his first work, " The Diary of a Young Girl " To the film " My perception of " claim against the stereotype goes . No doubt, but mohamadReza Aslani and his understanding of our impact on the judges and critics difficult. There is also a discussion of narcissism and delusion . The problem is simple: the referees themselves caught in the limitations Television ... Critics and referees who unknowingly and unwittingly the Anti -Fascist promote human and why we work from the likes of " Green Fire " enjoy ? The " Green Fire " will close all avenues of pleasure rotten mind . Wajda as familiar with festering sores Aslani audience not only makes the calls Break spell. Nature fights and cinematography . (We 're not in a revolutionary form of political and economic issues , etc. It is our job a little bit different than dos Santos and rocha )

Article 6 further Oriented form aspects will be studied at the same time as making later works . But the cinematography is an inherent element of stationary flight 

Robert Bresson: The actual form

Any trace of doubt in the face of inevitable : the output text

New baby to the world, which according to Lacan eyes with which another of his b ...

A text further references b b 1 of the very marrow of J est l'... : Shaping tell

Aside from this , too !

The general form of the author and Its destruction accept .

But that's where they get to be able Your sentence . TheI say Bresson . He has to pull away . Her to escape .

Is the " Augustine " he said . Arnheim comes from . Be said of Byzantine iconography . Be the transcendental style in film .

Robert Bresson direct insult to the intelligence of these, if only to say , even the fascination !

But he could not escape from ? Escape from the lab form and formless .

Say whatever you want, but to form!

Bresson 's pain was not " Jansenism

Pain he was human .

And the end face of the first films to understand and others would not Jansenism cinema : the form !

Can not find the same story for the films . The displacement of narrative rather confusing, since the pure form of this saying . Do not hate him that he had to enter Bresson arts in this way, we can greatly be an " error"

The movements are easy to find . Bresson forbid them to find !

He showed the film of the Almighty : simplicity first ! The others were intercepted .

Discover Bresson : The reference to the interpretation

Cinéma brésilien: Nelson Pereira dos Santos projet de plan de travail vidas secas

Getting Started

3 phenomenon . The film does not even transliteration and Brazil. Football legend and coffee. Both active and exporter . What is curiosity : Brazilian cinema . Mystery. The only thing we know is the Glauber Rvsha Cinema Novo . The truth is that the name Rvsha . Nelson Pereira dos Santos remains . Ghrbast if you collect ! Brazilian cinema and Rvsha are kept away from the world, but Bydtr Santos. Until now, we have the patience to look for six decades. Rifles are used here. 60 ...

Even if you fall on Robert Bresson : vidas secas . Although Julio Tmskhrt Brsanh be ... And " aesthetics of hunger " to. Whether himself is also extravagant.

They should know that the first principle of our group ( film ) is a fugitive. Evasion of restrictions. Escape formatting and neutral films. Bysrvrym Dadahay look like this. Nelson and dos Santos is in the nature of their flight. As Anderson and Robert Bresson as Reza Aslani the same way as S ! Flight Synmayyst forged governing my work. We repeated Bdamanshan a well-known film.

Visconti came when Bkhlq vidas secas in the works of bourgeois society was brilliant fun and character. ( Although the fight against the earth shakes and sometimes earlier) and Antonioni modern human relations rotten ... With Alain Delon and Jeanne Moreau. vidas secas but lost to Syalytsh guys missing ... such as playing cards and last year 'perpendicular Alain Resnais ! vidas secas de Sica and Dygransh noise was gone. We latency and taste Byavrymsh . Although " Dmnykv Umberto Ferrari " and " adventure" and "last year " right on you. The first came much earlier Bafrynsh .

Brazilians say they need to make a film , but with a camera and an idea in mind . This simplification is important , rather than saying it was more of a struggle against the bourgeois theater . ( Although there was little inclined to social revolt and all came from the same major) star system shaft assembly . They were followed for film and reality. Filmmakers Nelson dos Santos of Brazil and here , in principle, beyond these allusions Myzand . Rather than looking at the similarities and the influence of the "new wave" in French , and they find less Hypertext Transfer and fly back ! Rvsha only reward time references and reduce Dos Santos militants. If there is a reference system and the fight for the Brazilian society and cinema. B r own movie

vidas secas :

Unlike Rvsha comes down from heaven and heaven ... , Nelson Pereira Bahtram camera lay on the pitch. The non- Glauber not want to look modest ... Eye 2 S. Santos (photo) Filter by interpreting the leaves aside to focus on aspects of a documentary ... Dos Santos is important for the non-dominant eye ! So, do not be separated from the land of Brazil . Brazil is the narrator and his car. And these stories should seek Nshayd . Brazil remains weak to do with history.

Land Without Bread , trees and dead animals , the sound of music and moaning : Keshani screaming as if the fate of modern man modern fire (due to the main characters of the family or 4) I showed him . The sound at the beginning , no end and no voice; Ravyst , taste and hear what equality later . Tell us more about the character of his Hjymtr . Dogs movie out of context ...

Dos Santos will enter his shot film . View live with little movement and the same structure as documented : the vast desert and grass without cause. Adam felt ever come from the soil ( naturalists do not want to limit theorem. Zatysh the structure of the company , that is)

The log : Woman Man Little Boy Big Boy

Dstrnjshan last ( like wheat ) is next to her : Look children to the mother. Woman dying bowl ... See Baztrmrd a small bowl and eat. She padded the bottom of the bag ... Father and two children in a bowl. Women looking for children to eat . The dogs can patrol empty ... These pictures still hear the voice of the parrot. Until his image ... ( Head of a Woman )

the hunger situation created by the beating of filmmaker scored on a primitive ... This is a primitive world ... 2 Shot in the exponential ( parrot and woman) reaches its peak while the female parrots will turn to ... Suddenly his head parrot ... Chopping is the father ( over time without the " dissolve " and " feed ") with the help of two other dry wood to make a fire.

Aside from the concepts and how to get the form. Nelson Pereira dos Santos characters in the most realistic way possible, Glauber Rvsha Jdaynd actors . Compared to the effect of space ( the first interpretation ) , and sex too. And understand the camera. Unlike neorealism do not play against the actor, are obvious. Maybe if you have a first. And compare against each other . Each camera is constantly being born . Sound , the sound of barking and Aquarius. Hmgyshan contributed to the music, which of course , they play their instruments . Naturally. Rftarhashan and without speaking to me , the harmony inherent in tow, take them. For example, parrots Kill all have a vote and can demonstrate through your eyes and not much of anything, even if telling a little. This is before the second tape ( dog down ) is not low, and . Basically, this film looks at the nature of the behavior is consistent with that comes more and join the silence .... 

Man Ray

Le Retour A La Reaso just a love that night, I got really sick here. As the ultimate abstraction of a woman's breasts, is naked. Le Retour A La Reaso Shsshvy material is less of an advertisement or tea. But how is such a miracle, expecting the world? The eyes are the nipples of the head with the light outside the window comes and shapes. Shapes and contours of the female

.body are paraded with Bnhayt subjectivity

I know, man ray film and negatives as a palette to see the nails were full of scratches and let it grow. If the story is not the story and experience; individual. The subjective experience. Themselves to "us" to discover and to create. Dada Dada said.

Man Ray lights to various smashes. For others it is merely used as a light, a light to the city. But Ray and let your mind take me to the light. And lights will dance. Because the world is moving and the light, the human presence. And objects that Frmanrvaynd.

Figures come from the human "form" does! With naked body and eternal eternal. Breasts that are both eye and hand full of light that is God: I will. Is that Nature: Man Ray

روبر برسون

به نطفه داستان نبود. آغازین تصاویر.

سینماتوگراف اما خام؛ محض محض. بی آفرینش و خلق.

روسها آرام آرام با: سرگئی، پودوفکین. گناه، لنین گراد. گناه، استالین گراد. خالقان چشم به گریبان اکتبر؛ انقلاب اکتبر.

امر ما توده نباید. پس باز هم نشاید!

شگفت ما داداها. همه بی سرور. ریشتر(ریختر) روتمن، لژه، و من.

ذهن بر نگاتیو و انسان سوژه که می آفریند: خط، خطوط. رگ ب رگ مغز. به جای همه ی داستانهای بریده سر، بر سر حوض. و نور که الله. تا اشیا جان و من، من ری.

فرسودگی ب زمان؛ لا مکان. هر نما ضربه یی که قلم مو. بی تعقل که روبر بعدها، نیم سده: برسون.

آفرینش هر چه نگاه و پیوند هر چه اشیا. اکنونیت به تقدس: سینماتوگراف خالق. گریز از تمامیت خام.

فرم، جز جز و صدا. داستان پیاده از پی و دیگرها.

برسون اما منصور... "پس او را بردند تا بر سر دار کنند"

بی هیچ آدمی که گرد آمدند؛ تا خاطرات جام. 1346 و بی پایان به فرم. 

نوشته یی قدیم از نو

همیشه ترسی وجود داره... مث خوره روحو میخوره.. اما اینبار روح کسایی که فک میکنن اگه جا واسه ی عده باز بشه : باید جمع کنند برن ...نمیشه با دعوا نمیشه جنگید.. باید با ساختن... مشت محکم تو دهن ... کار ما نیست.

کار من عقب نیفتادنه کار من همواره جنگیدنه...محمدرضا اصلانی : "همیشه یک تعداد آثار آوانگارد پشت جشنواره می مونن تا آقایان نون بخورند" منظورش اینه: نمیخان مردم آگاهی داشته باشند و به چیزایی اندیشه کنن که هویتشونو برملا میکنه... هویت یک جمعیت نا اهل هویت جماعت دستمال به دست!من که سالها از ابتدا ست دل نبردم به جشنواره ها.... باسواد ما که س ع باشه دیگه از مردان انگشتری نباید انتظاری داشت... تاب ندارن تحمل ندارن شعور... نداشتن!وقتی بهت میگن فیلمت اروتیکه یعنی: تنها و تنها به زیر ناف اند و بس!

محمدرضا اصلانی میگه؛ خطاب به سعید ع میگه : " باید 30 ساله دیگه فیلمتو نشون می دادی بهش! کلی عقبه از این مسیر"

حالا بقیه داورا که نورچشمین و سوادشونم تا ران این منتقد گاهن داور نمیکشه : مشتی متوهم!

پایگاه خبری فیلم کوتاه

روبر برسون در خلال سینماتوگرافی به فیلمسازان آینده درس بزرگی داد. اینکه همه چیز را جزءجزء دیده تا به واقیعت برسیم. نمیشود نمایی کلی در خاطر آورد و آراء خویش را مهر و موم کرد و گواهی... 

پایگاه خبری فیلم کوتاه از نمایی دور چنین می نماید: سایت تبلیغی که در آمد زایی را اصل خود قرار داده است. 

اما اردی بهشت بهانه یی شد تا بیشتر با مدیر این سایت آشنا شویم. آنچه از نزدیک دیدم(شخصا) همه اش تلاش برای فیلم سازان فیلم کوتاه بود؛ با دغدغه یی تمام نشدنی. مرجان ریاحی یک همراه واقعی بود. بی آنکه ریالی بحسابش واریز کنیم. جالب ک بدانید :  ریاحی شرایط اردی بهشت را که سخت تر دید، حاضر شد پول محل اقامت و هزینه غذایش را هم خودش بدهد. برایم کمی عجیب بود. در این دوره ک همه برای اندکی پول بیشتر، یکدیگر را ب رگبار می برند، او مادرانه نفس های ما را شمرد. و نبض ما را فهمید. 

چیزی برای جبران نداریم! فقط میتوانم از خدا بخواهم که او همیشه سرپا باشد. 

فیلم کوتاه ایران باید قدر مرجان ریاحی و همکارانش در "پایگاه خبری فیلم کوتاه" را بیشتر بداند. 

توت فرنگی های وحشی

نمایش فیلم توت فرنگی های وحشی در کانون فیلم حوزه هنری برگزار شد. در این جلسه محسن صادقی پیش از آغاز فیلم از ویژگی های فیلم سخن گفتند. در پایان و پس از نمایش فیلم، بخشهایی از فیلم به طور نما ب ما و صحنه یی نقد شد

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