Robert Bresson, ‘Encountering Robert Bresson’, interview with Charles Thomas Samuels, republished in The Films of Robert Bresson: Casebook (London: Anthem, 2009), p. 96.
Below are more maps from Bresson films.
‘A film is not its shots, but the way they have been joined. As a general once told me, a battle often occurs at the point where two maps touch.’
Robert Bresson, ‘Encountering Robert Bresson’, interview with Charles Thomas Samuels, republished in The Films of Robert Bresson: Casebook (London: Anthem, 2009), p. 96. Below are more maps from Bresson films.
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The schoolroom is one of the two settings in which a map in a film is most likely to be found, and this is the earliest example I know. Below are some later illustrations from French cinema.
‘After a credit sequence showing belle époque photographs three “nationalist” recitations are juxtaposed, before a map presents insistently the gaping wound that is Alsace Lorraine: the lies of propaganda, the desire for revenge, and then there is war.’
Corinne Françoise-Denève, ‘Retour de flamme: Grande Guerre et cinéma français dans le nouveau siècle’, in Carola Hähnel-Mesnard, Marie Liénard-Yeterian, Cristina Marinas (eds), Culture et mémoire: représentations contemporaines de la mémoire dans les espaces mémoriels, les arts du visuel, la littérature et le théâtre (Palaiseau: Les Editions de l’Ecole Polytechnique, 2008) p. 186. 'The diagram in Resnais is a superimposition of maps that defines an ensemble of transformations from layer to layer, with the redistribution of functions and the fragmentation of objects: the superimposed periods of Auschwitz. Mon oncle d’Amérique is a large-scale attempt at diagrammatic mental cartography, where maps are superimposed and transformed, in a single character and from one character to the next.'
Gilles Deleuze, Cinéma 2: l'image-temps (Paris: Minuit, 1985), p.160. |
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