Erratum to ``The estimation of the growth and redistribution components of changes in poverty: a reassessment'''

This erratum corrects some typos and misspecifications in Bresson (2008).

Bresson and Mimesis

BRESSON AND THE PROBLEM OF MIMESIS Is there a problem of mimesis in Bresson's conception of cinematography? How does Bresson situate his art in relation to this concept? Is the Bressonian system of cinematography not mimetic in nature after all? Everything in Notes on Cinematography seems to suggest the opposite. As we know, Bresson contrasts his art of cinematography to the art of the theatre. To him, the theatre is a conventionalized practice whose essence consists in the simulation of reality, whereas cinematography presents us with persons and objects such as they are in the real world. The theatre uses actors who act in an expressive way, whereas cinematography uses models who are expressionless. One is imitative, while the other should not be - ‘being' as against ‘seeming'. Bresson sums up the difference: ‘Cinematography films: emotional, not representational.' (NC, p. 90)(1) Yet this cryptic remark needs all its interpretations...

The Puppets Look Like Flowers At Last

The urge to uncover aspects of human condition permeates my work, from the fundamental curiosity of a child tearing apart their doll to uncover what lies within to continuing a quest in uncovering basic human urges through my puppet animated dramas and tragedies. There is a controversial line between the childlike and the adult-like that can be ambiguous, and at some times more discernible while other times less. I create handcrafted stop-frame puppet animations that explore self-conscious emotions such as embarrassment, shame, and envy within unpredictable life scenarios. These are animations about inner life, attempting to resolve conflicting elements of the human psyche. At first glance, these puppets might appear scary, but upon closer observation the viewer may realize it is the puppet who is scared

Transcendental Style in Film: Ozu, Bresson, Dreyer (2nd edition)

This is a book review of Paul Schrader\u27s Transcendental Style in Film: Ozu, Bresson, Dreyer, 2nd edition (Oakland, CA: University of California Press, 2018)

A combination of beta-sitosterol and beta-sitosterol glucoside and normal function of the immune system : evaluation of a health claim pursuant to Article 13(5) of Regulation (EC) No 1924/2006

Acknowledgements: The Panel wishes to thank the members of the Working Group on Claims: Jean‐Louis Bresson, Stefaan de Henauw, Alfonso Siani and Frank Thies, for the preparatory work on this scientific output.Peer reviewedPublisher PD

Robert Bresson: Depth Behind Simplicity

On December 18, 1999, one of the world's greatest filmmakers, Robert Bresson, passed away at the age of 98. Although Bresson made only thirteen films over forty years, together they represent a body of work that is unparalleled in its stylistic consistency and the strength of its singular vision. Aside from Jean-Luc Godard, no other post-war French filmmaker's influence has spanned so many generations of filmmakers, so many countries, and such diverse aesthetics. Bresson's contribution to modern cinema has, however, only relatively recently come to proper recognition. As a result (and due to his own insistence on privacy), very little is known of the man himself or the events of his personal life.(1) What details we do know are vague: he began his career as a painter, turned to script-writing in the thirties (at which time he directed a short comedy, Les affaires publiques,) and spent the beginning..

Homenatge a Robert Bresson

Abstract not availabl

Rosetta Stone: A Consideration of the Dardenne Brothers\u27 Rosetta

The Dardenne brothers\u27 Rosetta has Christian overtones despite its unrelieved bleakness of tone. In fact, the titular heroine, a teenaged Belgian girl living in dire, subproletarian poverty, has much in common with Robert Bresson\u27s protagonists Mouchette and Balthasar. Both Mouchette (1966) and Au hasard Balthasar (1966) are linked with Rosetta in their examination of the casual, gratuitous inhumanity to which the meek of this earth are subjected, and both films partake of a religious tradition, or spiritual style, dominated by French Catholics like Bresson, Cavalier, Pialat, and Doillon. Those who have argued that the Dardennes\u27 film is merely a documentary-like chronicle of a depressing case choose to ignore this work\u27s religious element, in addition to the fact that Rosetta, unlike Mouchette or Balthasar, is alive and in the good company of a genuine human spirit at the end

Henri Cartier-Bresson, ‘Public Intellectual’?

Two issues of Paris Match and the book Moscou vu par Henri Cartier-Bresson feature some of the photographer’s most striking reportages, made during a visit to the Soviet Union. That the trip in question took place in 1954, a few weeks after Jean-Paul Sartre and Simone de Beauvoir traveled to the USSR themselves, is not completely fortuitous. At the time, an apparent convergence of political history, the history of photojournalism, and the history of ideas resulted in a kind of cross-collaboration between the figures of the writer/public intellectual and the artist/photographer. Generic and axiological conditions coalesced around the literary genre of the travelogue in the Soviet Union and Sartre’s idea of the responsibility of the writer confronting his times. From that standpoint, a reporter or photographer had to be more than a visual witness: a full participant in the debates on history and a full-fledged intellectual figure, without, at the same time, ever ceasing to be an artist. Was Cartier-Bresson a privileged protagonist in this convergence