Average customer rating:
- Poor quality reproduction of photographs
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Henri Cartier-Bresson: The Man, The Image & The World: A Retrospective
Peter Galassi ,
Jean Clair ,
Claude Cookman ,
Robert Delpire ,
Jean-Noel Jeanneney ,
Jean Leymarie , and
Serge Toubiana
Manufacturer: Thames & Hudson
ProductGroup: Book
Binding: Paperback
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Henri Cartier-Bresson (Aperture Masters of Photography)
ASIN: 0500286426 |
Book Description
"A definitive catalogue….Once Cartier-Bresson photographed something or someone, you might as well have retired them as subjects."—Newsweek
Henri Cartier-Bresson was one of the finest image makers of our time. His extraordinary photographs were shaped by an eye and a mind legendary for their intelligent empathy and for their unerring ability to get to the heart of the matter.
This sumptuous collection of work by Cartier-Bresson is the ultimate look at his achievements. The book brims with classic photographs that have become icons of the medium, as well as rarely seen work from all periods of Cartier-Bresson's life, including a number of previously unpublished photographs and a generous selection of drawings, paintings, and film stills. The book also features telling personal souvenirs of his youth, his family, and the founding of Magnum.
This definitive collection of a master photographer's work will be an essential book for anyone interested in photography—indeed, for anyone interested in the people, places, and events of the past century. 600+ illustrations in color and duotone.
Customer Reviews:
Poor quality reproduction of photographs.......2007-08-03
The book is a testimony to the capabilities of Henri Cartier-Bresson as a photographer. With limited equipment, a camera and only one lens, he managed to capture an amazing range of emotions and phenomenon. Cartier-Bresson's work, which is amply documented in this book, also provides an example of "available light" photography.
My one complaint is the quality of reproduction of the photos is somewhat poor, though I am not sure whether this could have been remedied by the publishers
Average customer rating:
- A must if HCB is your cup of tea!
- Creo que el mejor libro de Cartier Bresson
- This book is amazing!
- Dissapointing
- Fantastic Book!
|
Henri Cartier-Bresson: The Man, the Image and the World: A Retrospective
Philippe Arbaizar ,
Jean Clair ,
Claude Cookman ,
Robert Delpire ,
Peter Galassi ,
Jean-Noel Jeanneney ,
Jean Leymarie , and
Serge Toubiana
Manufacturer: Thames & Hudson
ProductGroup: Book
Binding: Hardcover
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Cartier-Bresson, Henri
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Sebastiao Salgado: Workers
ASIN: 0500542678 |
Amazon.com
Henri Cartier-Bresson spent four decades traveling the world as a photojournalist in search of what he called "the decisive moment"--the instant when visual harmony and human significance coalesce. Published in honor of his 95th birthday, Henri Cartier-Bresson: The Man, The Image & The World is a handsome volume that reproduces more than 600 photographs, film stills, and drawings and includes essays by art, photography, and film experts. Trained as a painter in his native France, Cartier-Bresson began his photography career during a trip to the Ivory Coast in 1931. After shooting his way through Europe, Mexico and the U.S., he became an assistant to filmmaker Jean Renoir and directed documentaries in support of the Spanish Civil War. Imprisoned by the Germans during World War II, he escaped to document the liberation of Paris. More than a quarter-century of magazine photography followed—-including vivid glimpses of modern life in India, China and the Soviet Union—-before he put aside his camera in favor of his sketchbook. Cartier-Bresson's ability to capture peak moments resulted in unforgettable single photographs, like that of a woman in a group of former concentration camp prisoners who suddenly recognizes her Gestapo informer and reaches out to hit her. His constant watchfulness led to images that capture fleeting emotion—-lust, pride, despair, expectation, glee—-on the faces of people going about their daily lives in grim cities, sleepy villages, and vast landscapes. Shaped by compassion and a self-effacing absence of personal judgment, these photographs reflect a worldview no longer fashionable but forever relevant to human understanding. —Cathy Curtis
Book Description
Henri Cartier-Bresson is one of the finest image makers of our time. Born in 1908, he studied painting before embarking on a career in photography in the early 1930s. In 1940 he was captured by the Germans and spent three years in prisoner-of-war camps before escaping to join the Paris underground. With Robert Capa, David Seymour, and others, he founded the photographic agency Magnum in 1947. Since then his work has taken him all over the world—from Europe to India, Burma, Pakistan, China, Japan, Indonesia, Bali, Russia, the Middle East, Cuba, Mexico, the United States, and Canada.
This new collection of work by Cartier-Bresson, created on the occasion of his ninety-fifth birthday, provides the ultimate retrospective look at a lifetime's achievement. It includes the first photographs taken by him, some of which have never been published, rarely seen work from all periods of his life, classic photographs that have become icons of the medium, and a generous selection of drawings, paintings, and film stills. The book also features personal souvenirs of Cartier-Bresson's youth, his family, and the founding of Magnum.
Cartier-Bresson's extraordinary images are shaped by an eye and a mind legendary for their intelligent empathy and for going to the heart of the matter. This definitive collection of a master photographer's work will be an essential book for anyone interested in photography—indeed, for anyone interested in the people, places, and events of the past century. An exhibition of work by Henri Cartier-Bresson opens in Paris in 2003 and will be seen in the United States in 2004-2005. 630 illustrations in color and duotone.
Customer Reviews:
A must if HCB is your cup of tea!.......2006-06-21
I put off buying this book as long as I could and eventually I did, having in the meantime manhandled book store copies. It is difficult to get too much HCB and this offers a lot in one package.
I take minor exception to HCB as elevating photography to art -- he is more often described as someone who turned his hobby into an art form, albeit it was a hobby informed by artisitic sensibility. The incomparable Eastman House in Rochester has examples that go back to the earliest days of photography as art. But the 20th century was crowded with photographic art. HCB's eminence in the PostWar recognition of Photography as Art by such places as MOMA is a given. (he preferred the small a).
The number of photographs included is for me in this book is an asset, providing a broad look at the stupendous body of work done by HCB during his long career.
In the 1950s and early 60s, the greatest influence on young photojournalists came from "This Is War" by David Douglas Duncan, published in 1951 and "The Decisive Moment" in 1952, which took its title from HCB's text. The Verve edition used a different title, i.e. "Images à la sauvette" which translates to "pictures on the run."
Robert Capa suggested to HCB that he call himself a photojournalist and later the two would join in forming Magnum, the first and greatest photo agency. From that came the inaccurate sometime sobriquet of " Father of Photojounalism."
HCB's work received the earliest important recognition from Americans and his exhibitions and books always received a warm reception. Had he been an American, his political views might have ensnared him in the hysteria of the 50s.His individual perspective was as strong as one might expect from someone who spent three years in a Nazi prison. After the war's bitter experiene, HCB's work became much more humanist.
In France his acceptance as an artist does not fully reflect the merits of his work. The US has accepted the work of HCB and Eugene Atget at a level that the French art establishment did not -- although he did have support that matters. One reason cited is that HCB objected to the "fetishistic attitude" toward original prints.
HCB's darkroom work was done by skilled technicians. Berenice Abbot promoted the merit of Atget's work with her own prints from the thousands of negatives she brought back to the US.
That is a point on which HCB was entirely right. Some earlier vintage prints of his work is not all that good. HCB recognized that for his genre, a skilled darkroom craftsman could both satisfy his esthetic judgments and replicate his work over and over. What he could control was how many "authorized" images there were.
A gigantic HCB exhiition at the Bibliotheque Nationale de France several years ago was pectacular -- the BNF chosen because it would gladly work with HCB and his wife. That was a rare opportunity that had to be taken. You don't think much about the print, but rather what an eye HCB has for the moment.
There are certainly photographers who marry their eye to theirr work in the darkroom. HCB did not see it that way.
This book is perfect for me, but others less familiar with HCB's work might be better off with one of his books on a theme, e.g. Paris, etc.
Creo que el mejor libro de Cartier Bresson.......2006-01-29
Fantástico libro de fotografías que recoge muchas de sus épocas como fotógrafo.
Fotos de Barcelona,Madrid,Valencia,Paris.Berlin....
Una auténtica maravilla.
Si te gusta la fotografía,no debes dejar escapar este libro
This book is amazing!.......2005-12-27
A great retrospective of his incredible photography. I just got it for Xmas and LOVE it!
Dissapointing.......2005-12-22
I really dont`t know how people can give 5 stars to this book. It`s clear that they don`t know nothing about photography books. It is true that in this book you can see almost all bresson`s photographs but you`ll see many of them in a small size. If I payed 47.25 for this book I expect to receive quality and not a lot of photographies printed in two pages (For me the concept of printing an image in two pages is unacceptable). There isn't a selection of the work in this book. I prefer a book with less photographs but well printed than this book where you have lots of images but in bad print. After spending a lot of money in this book try another of Bresson`s books. Surelly you`ll get better quality for less price.
Fantastic Book!.......2005-09-17
This is a fantastic book about who in my opinion is the best photographer of all times. Henri Cartier Bresson worked a lot throughout his life, and this book shows all his most significat work, including drowings. If you like this photographer, then this book is a must.
I had to return it twice due to defective copies, and also in booksores it was hard to get a "perfect" copy, but keep in mind I am very picky.
Book Description
Robert Bresson makes some quite radical distinctions between what he terms "cinematography" and something quite different: "cinema"-which is for him nothing but an attempt to photograph theater and use it for the screen.
Director of The Trial of Joan of Arc, Pickpocket, A Prisoner Escapes, Diary of a Country Priest, Money, and many other classic films,
Robert Bresson is, quite simply, one of the most brilliant cinematographers in the history of film.
Customer Reviews:
A fundamental approach to know the master of masters!.......2004-08-22
Bresson was a poet . His clear and smart thoughts about the cinema are so clearly expossed that breathe honesty all the way .
If you still do not know the Bresson filmography and you are a real hard lover of the cinema , it is time for you to get close to that unique film maker.
A real jewel.
Must have for any non-Hollywood Style Filmmakers.......2003-05-14
If you want a step by step, how to make film book, you're better off browsing the bookstore at your local film school.
If you are a novice filmmaker, and you want to make art with film or video, and you want a guidebook on how to THINK and FEEL about your chosen art form, this is a must.
Bresson inspired the French New Wave filmmakers, and in my opinion was one of the few directors this world has seen who actually considered the particular reality of the moving image and created a set of principles to guide his choices as a director based on the medium itself, and not on any inherited traditional technique. One of the primary divisions in film theory is whether you believe film to be an extension of theatre or something entirely different.
For Bresson theatre is a more intellectual, mind based experience, whereas film is an EXPERIENTIAL art form. Bresson was highly interest in TRUTH over the APPEARANCE of truth. For Bresson the camera and audio recorder capture the essence of a thing, and therefore he cautions against using actors, and sets, and instead suggests people being themselves and shooting on actual locations.
This book is actually a collection of notes that Bresson wrote to himself over the course of his career. It is a wonderful look into the mind of an artist. In this book I have found a kindred spirit, whose insights into the nature of film and film production are distilled down to their essential forms. What kind of Truth does the camera capture, what elements go in the mise-en-scene which add or distort that truth, how do you illicit the inner truth of the actor (model) while still maintaining the requirements of the plot and script?
There are two books which have, for me, opened up the truest possibilities of film as an artform. These books are: "Notes on the Cinematographer" by Bresson, and "Sculpting in Time" by Tarkovsky. These books are a must read for anyone interested in exploring the true potential of film as an art form.
Also, this book goes in and out of print fairly regularly, so you should buy it whenever you see it being sold. Its relatively inexpensive, but contains a wealth of knowledge. It makes a great gift for someone interested in film or video as an art form.
Writing With Images.......2003-03-08
"Notes on the Cinematographer" is a tidy, Zen-like summation of the special aesthetic Bresson brought to film. 'Cinema' to him was simply filmed theater. He wanted movies to do something more, to create a new language of images that could express a character's inner states and moods (I think this goal, more than anything, explains why he's so often labeled a 'spiritual' director). Bresson wanted faces, not actors; events, not scenes; "BEING instead of SEEMING." To this end he insisted on amateurs over trained actors, noises over music, slowness and close-ups over speed and pans. Cinematography as Bresson explains it here is a unique form of writing. His efforts to make an essentially mechanical & visual medium parallel the inwardness of the written word has to be one of the strangest and most fascinating projects in the history of film. Not surprisingly, he writes beautifully, and these aphoristic koans, surrounded by all that empty white space, are as haunting as anything he captured on film. A tiny masterpiece.
Notes on the Cinematographer.......2002-08-29
Not what I expected. This book is more philosophical, than literal. I like it, but it's like reading a lot of proverbs, you cannot absorb it all, only the few that strike you at that moment.
Towards a Poetics of Film.......2000-08-10
There is no better guide to the process and experience of making a film. Though its epigrammatic style makes it at first seem abstract, Notes on the Cinematographer is essentially a step-by-step handbook on what to do (and more so, what not to do) with actors and a movie camera. The title is so unintentionally misleading as to the subject of the work, which contains not a single line on lighting or photography ('cinematographer' is Bresson's rhetorical name for 'film-maker') that I believe it has obscured what would otherwise be a justly renown (and more readily-available) classic text on filmmaking.
This book stands also as an intriguing commentary on Bresson's films, on which is it is difficult to say anything adequate.
Book Description
French filmmaker Robert Bresson is perhaps the most revered living film director. Awed, inspired and sometimes mystified by the beauty and austere perfectionism of Bresson's style, critics and directors have been moved to passionate debate about his unique ideas on the use of sound, actors, editing and music. Robert Bresson is the first collection of essays in English on the director in three decades. A thorough examination of his vision and style, it draws together over twenty important articles by leading critics and scholars; three essential interviews; and the commentaries of over thirty directors on Bresson's importance and influence.
Publised by Cinematheque Ontario. Distributed in Canada by Wilfrid Laurier University Press. Distributed outside Canada by Indiana University Press.
Customer Reviews:
Bresson mania.......2001-11-19
My personal hero of the aforementioned European art-movie genre -- Robert Bresson -- is the subject of a new book edited by James Quandt. Robert Bresson includes interviews with the director by fellow filmmakers Jean-Luc Godard and Paul Schrader and French film critics Michael Delahaye and Michel Ciment. There are also homages from directors like Martin Scorsese and Rainier Werner Fassbinder, as well as essays by Roland Barthes and Alberto Moravia. One might wonder why such famous and accomplished people took the time to write about a French filmmaker whose movies are not known to the general moviegoing public. The answer is that the late Bresson actually was one of the great figures in cinema. His austere directing style relied on slow and beautiful imagery and much suffering on the part of his main characters, resulting in films that, once experienced, is never forgotten. One can describe Quandt's book the same way
fine compilation of writings on bresson.......2000-12-28
last year i recieved one of the best christmas presents i could ask for: this book. while i wouldnt recommend it to anyone that isnt a bresson fan it holds plenty to mull over for those that are. while a few of the articles are dull and/or pretentious more often than not they are highly illuminating as to the director's methods. there are one or two articles devoted to each of his films and a few that are just about his films in general. this first section of the book ends with bresson's cinematographer for "diary," through to "joan of arc" writing about his love/hate relationship with bresson and an interview with the young man who played the lead in "the devil, probably." the second part of the book contains three interviews with bresson: the paul schrader, which is fidgety and odd; the godard, which is exhaustive, rambling and very enlightening; and the final one whose author slips my mind which is great but unfortunately short (conducted after the completion of what would be bresson's last film, "l'argent"). the final section of the book is basically several directors talking about why they like bresson. this section ranges from short, humorous stories (the fassbinder and aki kaurismaki) to long essays on bresson's style(malle, etc.). other directors quoted in this final section include tarkovsky, bertollucci, wenders, hal hartley, and atom egoyan.
Man as an Island.......2000-06-04
Imagine a young film director making a somewhat controversial first film, with a script by someone on the order of Saul Bellow, followed by a more successful film with recognizable stars and a labyrinthine script by someone like Harold Pinter. Have him drop out of sight for four years, only to emerge from obscurity with a movie about a country priest, filmed (spectacularly) in rural (RURAL!) Massachusetts. Etcetera. There is really no way to imagine Robert Bresson otherwise. We owe it to the French film industry (if something so UNconsolidated could be called an industry) that Bresson was permitted to flourish at all. It wasn't simply as if he was waiting around, all his life, for a financier (14 films in forty years of activity). But where else on earth could this austerely Catholic artist have found work but in France, the most religiously cynical country in Europe? His films are a rebuke to anyone stupid enough to expect anything conventional. Bresson questioned everything in film - even the central point of the medium. His films deny the viewer the usual crutches en route to an idea. Bresson leads us silently, without promptings, toward a disbelief we had long since suspended but never seriously questioned. He makes the word 'genius' clean again.
Man as an Island.......2000-06-04
Imagine a young film director making a somewhat controversial first film, with a script by someone on the order of Saul Bellow, followed by a more successful film with recognizable stars and a labyrinthine script by someone like Harold Pinter. Have him drop out of sight for four years, only to emerge from obscurity with a movie about a country priest, filmed (spectacularly) in rural (RURAL!) Massachusetts. Etcetera. There is really no way to imagine Robert Bresson otherwise. We owe it to the French film industry (if something so UNconsolidated could be called an industry) that Bresson was permitted to flourish at all. It wasn't simply as if he was waiting around, all his life, for a financier (14 films in forty years of activity). But where else on earth could this austerely Catholic artist have found work but in France, the most religiously cynical country in Europe? His films are a rebuke to anyone stupid enough to expect anything conventional. Bresson questioned everything in film - even the central point of the medium. His films deny the viewer the usual crutches en route to an idea. Bresson leads us silently, without promptings, toward a disbelief we had long since suspended but never seriously questioned. He makes the word 'master' clean again.
The Definitive Guide to Bresson.......2000-04-08
Editor James Quandt, an esteemed film curator at the Cinematheque Ontario, has assembled the best writings on Robert Bresson, intelligently balancing scholarly analysis (including that of Barthes and Moravia), filmmakers' homages (from Scorsese to Fassbinder, Cocteau to Duras), and accessible primers on the French director's work (by Susan Sontag and Andre Bazin, among others). Particularly noteworthy are the interviews Bresson conducted with Jean-Luc Godard, Paul Schrader, and the French critics Michael Delahaye and Michel Ciment. A MUST for anyone interested in film history and in one of the few directors worthy of the appellation "genius."
Customer Reviews:
What a snob!.......2007-01-31
This book aims at the world of film criticism, specialists and pedants like the author. It's so pedantic it stinks. I bet the people who like this kind of literature don't care a fig for what they actually talk about: cinema. Of course I didn't read the whole rug.
Ozu, Bresson and Dreyer made spiritual, religious or... trascendental films as Mr. Schader says. But they made them for the common folk, that is: for the hearts as for the minds of people. Why should there be in the world this kind of pharisees telling us how to interpret things? Ford, who is and was the greatest film director ever once said he was only a guy who made westerns and now come the yuppies like Mr. Schrader messing around, complicating things.
From page 5 to 12 the perpetrator of this book digs into the meaning of 'trascendentalism'. Why not explain the meaning of 'meaning' as well?
I didn't get to know anything interesting from this brick.
a simple and great book.......2006-03-06
Paul Schrader tells us what transcendental/transcendent means and what's transcendental style in movies. He tells all that information in a simple style and gives important analyses from Ozu's, Bresson's and Dreyer's films..
Transcendental Twaddle.......2003-06-12
For some reason or other, this book remains, thirty years after its publishing, an authoritative introduction for newcomers to Bresson and Ozu (not so much to Dreyer). Having spent several years studying French and English-language Bresson scholarship and criticism, I must encourage those who are looking for a reliable way to 'insert' themselves into Bresson's films to begin elsewhere. Schrader's book has not aged gracefully.
Its primary shortcoming is that, in the case of the chapter on Bresson, it is sadly outdated. First and foremost, for a book that boasts to offer a 'theory' of (transcendental) style, it offers little more than an interpretation of a select group of Bresson's films (the so-called 'Prison Cycle') and their stylistic tendencies. While some of these stylistic observations remain strong, they are covered over with the most outrageous of readings of Bresson's film that they themselves lose their initial value. Published in 1972, the theory that Bresson's style is adapted to 'express' the 'Holy' fails to account for the filmmaker's later, almost atheistic, color work, like 'Lancelot du Lac,' 'Le Diable, Probablement' and 'L'Argent.' In order to convince us that this theory applies, Schrader would have to write a new edition of the book, which would have to make sense of the 'anti-transcendental' leanings of the last stage of Bresson's career. I doubt whether this could be accomplished. He would also, I believe, need to address an issue raised by David Bordwell in 'Making Meaning,' in the chapter 'Why Not to Read a Film.' Schrader fudges the line between hermeneutics and theory, offering not a 'theory' that makes sense of Bresson's 'style,' but an interpretation that periodically makes use of formal and stylistic observations. In short, there are many shortcomings to Schrader's scholarship, here.
To those new to Bresson, I'd have to suggest a few other texts that are more sober in their methods and conclusions: Kent Jones' Introduction to his BFI Modern Classics book on 'L'Argent,' Andre Bazin's essay on Bresson's style in Volume I of 'What is Cinema?' (which remains not only one of the best pieces on Bresson, but one of Bazin's best as well), and last but not least, the collection of essays edited by James Quandt (particularly the essays by P. Adams Sitney). The best essays on Bresson contextualize his stylistic development, noting that his 'autere' style emerged in part as a response to the French 'cinema de qualite.' Even Manny Farber's short write-up on 'La Femme Douce' in 'Negative Space' is more sound than Schrader's entire chapter on Bresson.
In the beginning was a critic..........2000-09-29
I read this years ago, before Schrader was well known as either a screenwriter or a director, but this book introduced me to the three great filmmakers he analyzes here. Hard to believe the same writer would go on to script TAXI DRIVER, HARDCORE, and RAGING BULL. But after you read this you will see the 'transcendental' element is in all of Schrader's screenplays. This book is not for the "movie buff" but a more scholarly audience. But if you are a Schrader fan, it is a must read.
Amazon.com
Robert Capa, whose images of the Spanish Civil War brought home the hideous suffering of that conflict and brought Capa international fame, is the 20th century's most accomplished photographer of warfare. This collection of Capa's work demonstrates that he was more than a war photographer: he was a master of depicting ordinary life in extraordinary circumstances. The volume includes an essay by Cornell Capa, the photographer's brother and the founder of the International Center for Photography, as well as a foreword by Henri Cartier-Bresson.
Book Description
Robert Capa: Photographs is the first true retrospective book of one of the century's greatest photographers. Drawing upon hundreds of previously unseen images, this collection reveals Capa as one of the great poets of the camera. In these photographs, we see through the eyes of a driven humanist who was also a documentarian of the highest caliber. While previous volumes on Capa have focused on his role as a war photographer, Robert Capa: Photographs shows us the remarkable range of his work, which encompasses the sufferings as well as the tenderness, humor and wonder of his subjects.
Robert Capa demonstrated not only a passionate commitment to improving the human condition, but also an unfailing eye for graphic impact. Although his photographs remain the definitive visual records of such momentous events as the siege of Madrid, the bombing of Hankou, and the Allied landings on D-day, many of his images have a timeless and universal quality that transcends the specifics of history. A Spanish soldier recoils at the impact of a bullet, the final instant of his life. In a scene of perfect joy, a group of Chinese children laugh at the sky as snow begins to fall. Four farm workers, hauling all the belongings they can manage, trudge grimly away from an apocalyptic backdrop of smoke and ruins: their war-devastated homes.
Capa's images reveal his profound compassion and perceptiveness about our tenuous human state. As Cornell Capa (Robert's younger brother and the Founding Director Emeritus of the International Center of Photography) writes in his eloquent remembrance: "He managed to travel all over the world, and to communicate his experience and feelings through a universal language: photography." Robert Capa: Photographs also includes a foreword by Capa's close friend Henri Cartier-Bresson, as well as an informative historical essay by Capa biographer Richard Whelan.
At last, here is the book that reveals Robert Capa in a new light. The extraordinary collection of images in Robert Capa: Photographs brings us--through the events of history--to the very heart of humanity.
Customer Reviews:
Capa Photographs.......2006-03-26
This is a beautiful book by one of the great photographers who shot his dramatic photos right at the frontline of wars. His years in Paris, his friendship and photos of the giants of European art and cultur reflects the recognition he received from his contemporaries. His tragic death in Vietnam was a great loss for everyone interested in his art!
The Bravest War Photographer of All Time..........2005-09-27
Frank Capa (born Endre Friedmann in 1913) was known as the 'Greatest War-Photographer in the World" when he died in 1954. As a teen, he planned a career as a reporter. Journalsim, he thought, would enable him to combine his loves of politics and literature. In the spring of 1936, he adopted the name Robert Capa, the name of an alter ego, the imaginary character of a glamorous American photographer.
He photographed five wars from '36 to '54. The first was the Spanish Civil War. He'd been sent to Madrid to photograph Juan de la Cierva who, in 1923, had invented a forerunner of the helicopter. He stayed on in Spain because he felt an affinity with the warmth, exuberance, and generosity of the Spanish people. He went to Barcelona, (a penpal in the Fifties came from that area, Sabadell, and was a mill worker who learned his English from American sailors and Frank Sinatra records.), Andalucia, and Cordoba.
General Francisco Franco launched a civil war in July, 1936, which changed Spain forever. He had the courage of his convictions and his photos show a compassionate study of people under extreme stress. He was a photographer of people, which is the opposite of me, as I choose buildings, things, birs, animals, historic places and such for my amateur picture taking.
Unlike his friend Ernest Hemingway, he never felt he had to prove his courage to himself or to anyone else. He was intent on making better pictures, at great risk to his safety. Unlike Hemingway, he was very much a gentleman of the old school, coming from Europe, and "gentlemen don't brag." He believed that one shouldn't tempt fate by bragging.
On the battlefields of Spain, he learned that soldiers use theri terrible weapons of mass destruction only because they have been brainwashed into the ability to 'conceptualize' their victims not as individuals but as a category -- the 'enemy.'
He died in Indochina when he stepped on aa nati-personnel land mine. He was buried by his mother in a Quaker cemetery instead of Arlington National Cemetery, which was an offer she refused.
Pure empathy.......2003-06-01
Ordinary people caught under extraordinary circumstances are what give these images the power that they have and elicit pure empathy from the viewer. Robert Capa earned his place in photographic history and left behind a body of work for us to consider...
Amazing photographs.......1999-08-10
This book has some really amazing photography, they have a really powerful message. I like photos that make me feel something and Robert Capa's photos difinatly do that. Robert Capa was in the right place and the right time with alot of his photos. The only thing the book lacked i feel is more background on the photos.
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Touching God: The Novels of Georges Bernanos in the Films of Robert Bresson (Currents in Comparative Romance Languages and Literatures)
Beth Kathryn Curran
Manufacturer: Peter Lang Publishing
ProductGroup: Book
Binding: Hardcover
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ASIN: 0820478261 |
Book Description
Robert Bresson (1901-1999), one of the most original film- makers in the history of cinema, adapted two novels by Georges Bernanos (1888-1948), Journal d'un curé de campagne and Nouvelle Histoire de Mouchette. The Catholic novelist Bernanos and the spiritual filmmaker Bresson, each in his own way, articulate grace and redemption through the suffering and death of their heroes/heroines. As a result, the reader and the spectator come to sense the presence of God in all four works. Bresson's techniques are presented and analyzed, as well as his later move to films without grace and redemption.
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Notes sur le cinematographe
Robert Bresson
Manufacturer: Gallimard
ProductGroup: Book
Binding: Mass Market Paperback
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ASIN: 2070393127 |
Book Description
This book provides a comprehensive introduction to the work of Robert Bresson, one of the most respected and acclaimed directors in the history of cinema. Bresson's unique use of “models” (he refuses the term “actors”), his sparse and elliptical editing style, his rejection of conventional psychological realism make his work all but unique and instantly recognizable. This is the first monograph on his work to appear in English for many years, and deals with his thirteen feature-length films and his short treatise “Notes on Cinematography.”
Customer Reviews:
A much needed introduction to a very difficult director........2000-11-15
To many, rather snooty, film critics, there are really only two or three great directors, one of whom is certainly Robert Bresson. But Bresson is the most difficult and least approachable of film masters, his films are full of pessimism, austerity, remoteness. Most difficult for many is that he is a Catholic artist, and his films often don't makes sense without some prior knowledge of the religion (which is not the case with, say, Graham Greene). Anyone who sees these cold, withdrawn, unyielding films might be surprised at those who find them deeply emotional and rapturous.
Keith Reader does an excellent job in explaining why this might be so. His book is a very old-fashioned study in many ways - it discusses the films as the works of one genius, rather than the more conventional method of genre, ideology, psychology etc.; he draws on old-hat theories by the likes of Lacan. But, though he cannot resist the odd slip of impenetrable jargon, this is a lucid study, explaining each work individually, outlining Bresson's methods and theories so precisely that you literally watch the films with new, more understanding eyes, open to epiphany. The study of 'A Man Escaped' is particularly moving.
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