Faith and Form on Screen
To understand any aspect of being-in-the-world in general or cinematic experience in particular, both reductionist and holistic approaches are needed. Psychological accounts can give us only functional explanations of human behaviour or responses to signifying artifacts such as art. To understand th...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
MDPI
[2016]
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| In: |
Religions
Year: 2016, Volume: 7, Issue: 11, Pages: 1-14 |
| Further subjects: | B
film form
B Paul Schrader B film style B David Bordwell B transcendental style B Slavoj iek B Faith B pickpocket B Robert Bresson |
| Online Access: |
Presumably Free Access Volltext (Verlag) Volltext (doi) |
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| 520 | |a To understand any aspect of being-in-the-world in general or cinematic experience in particular, both reductionist and holistic approaches are needed. Psychological accounts can give us only functional explanations of human behaviour or responses to signifying artifacts such as art. To understand the significance of these experiences the psychological must be complemented by a study on a level which may be termed spiritual. This line of thought is applied to analyses of Robert Bresson's Pickpocket, starting from David Bordwell's formalist and cognitive account of why many people experience this film as religious despite there being no explicit reference to religion. Paul Schrader's analysis of the formal structure of this film in terms of his notion of transcendental style in film goes a step forward by explaining how the formal structure as he analyses it suggests a transcendental dimension which cannot be addressed directly. This approach connects in an illuminating way with Slavoj iek's notions of the imaginary and the symbolic sphere. Bordwell's approach, functioning on the psychological level, is basically reductionist, while Schrader's, boosted with iek's ideas as appropriated for the purposes of this article, is holistic and operative on the spiritual level. This two-tiered analysis reveals how cinematic form in Pickpocket serves as an indirect expression of faith. | ||
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| 650 | 4 | |a Robert Bresson | |
| 650 | 4 | |a Slavoj iek | |
| 650 | 4 | |a Faith | |
| 650 | 4 | |a film form | |
| 650 | 4 | |a film style | |
| 650 | 4 | |a pickpocket | |
| 650 | 4 | |a transcendental style | |
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