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Neither God nor MasterRobert Bresson and Radical Politics$
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Brian Price

Print publication date: 2011

Print ISBN-13: 9780816654611

Published to Minnesota Scholarship Online: August 2015

DOI: 10.5749/minnesota/9780816654611.001.0001

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The Aftermath of Revolt

The Aftermath of Revolt

Une femme douce and the Turn to Color

(p.94) 4 The Aftermath of Revolt
Neither God nor Master

Brian Price

University of Minnesota Press

This chapter examines Bresson’s first adaptation of Dostoevsky, Une femme douce, which initiates his transition to color filmmaking. According to Keith Reader, Bresson’s transition to color leads to a softening of the modernist intensity of his black-and-white work, improving the film fragment by camouflaging it in the colors of the phenomenal world. Bresson’s turn to color is conceptually consistent with his concern with logocentrism and nomination, with the violence that follows the authority of the word. While his earlier films all pose models for understanding the reversibility of law and morality, his later work takes on a more analytical quality, examining the problems of the dominant social formation in the aftermath of a perceived failure at revolution by way of varying color strategies.

Keywords:   Robert Bresson, Dostoevsky, Une femme douce, color filmmaking, logocentrism, nomination, dominant social formation, color strategies

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