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Product details
File Size: 14450 KB
Print Length: 230 pages
Publisher: University of California Press; 1 edition (May 18, 2018)
Publication Date: May 18, 2018
Sold by: Amazon Digital Services LLC
Language: English
ASIN: B07C3JKCFJ
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Amazon Best Sellers Rank:
#58,278 Paid in Kindle Store (See Top 100 Paid in Kindle Store)
Well-articulated.
Seminal reading for a film buff.
This book is an incredible way to immerse oneself in Dreyer, Ozu and Bressons world through Schrader's eyes. A must!
Even if you have the original edition, purchase this 2018 new edition for the new introduction "Rethinking Transcendental Style" where the author updates his understanding of how transcendental style that he wrote about 45 years ago has developed since then. Wow! He diagrams three emerging directions: The surveillance cam, the art gallery, and the mandala. On this diagram, he lists about 30 filmmakers and their relationship to each other and these three directions. An incredible summary! The original edition is then printed in full that includes an analysis of Ozu, Bresson and Dreyer as exemplars of transcendental style in film. Bravo!
I need this for class, I will not say its a good read but not bad, however if I did not have to it for class I would not have.
This book is a gem of appreciation for an all but dying cinematic style. Bottom line, it's an enthusiastic analysis of a very rare style shared by three different filmmakers, all auteurs in their own right. You may disagree with the "spiritual" import, or the importance of the stylistic similarities across cultures, but you cannot deny that Paul Schrader is onto something worth studying. Schrader's background in Calvinism (and its analytic, ascetic tendencies) is a unique and fitting window through which the reader can appreciate Bresson's, Ozu's, and Dreyer's work as it relates to the aesthetics of grace. Schrader's concentration on the primacy of filmic form as a means to communicate with the audience, as opposed to content, vicarious emotion (empathy), and visceral sensations, flies in the face of visual narrative styles today, even the most "artistic."Sure, it's a masters thesis, and sometimes reads like one. It is a little uneven rhetorically and goes in some tangents. But the negative reviews on this book seem emotionally charged with some kind of weird rivalry endemic to the academic world and petty film critics.If you take the time to understand the complexity of stasis, disparity, abundant and sparse means, and the "choices" at work in predestinarian logic and the moment of grace, you won't be disappointed. You'll see Ozu, Bresson, Dreyer and filmmaking in a new light.
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.
I read the book about thirty years ago and found it contained original, and still useful, insights about film expression. The self-absorbed critics on this page who have panned the book should probably reflect on their own verbal excesses before they criticize Schrader's. Anytime you take on the subject of the transcendental, you will necessarily be speaking metaphorically. Schrader's model may not be precise, but they offer food for thought.
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