The acclaimed director of Mishima, American Gigolo, Hard Core, Blue Collar, Cat People also the screenwriter for Taxi Driver , Paul Schrader here analyzes the film style of three great directors—Yasajiro Ozu, Robert Bresson, Carl Dreyer—and posits a common dramatic language by these artists from divergent cultures. Unlike the style of psychological realism, which dominates film, the transcendental style expresses a spiritual state with austere camerawork, acting devoid of self-consciousness, and editing that avoids editorial comment. This important book is an original contribution to film analysis and a key work by one of our most searching directors and writers.
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用户评价
难以评价。三位导演的电影都没看全，但是小津的风格和美学相对更容易理解和接受，所以前一半都还比较看得进去，后面一半已经是一个句子看到尾巴忘记头了。就小津部分来说，硬往超验上靠，生套侘寂和物哀等概念，不得不说有点尬。
评分难以评价。三位导演的电影都没看全，但是小津的风格和美学相对更容易理解和接受，所以前一半都还比较看得进去，后面一半已经是一个句子看到尾巴忘记头了。就小津部分来说，硬往超验上靠，生套侘寂和物哀等概念，不得不说有点尬。
评分开会读物
评分只读了小津部分反正他在唬人就是了
评分无国界的诗化电影语言
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