Activity

Through the use of repeated action and pleonastic dialogue Bresson “doubles” (or even “triples”) the action, making a single event happen several times in different ways.

In the everyday Bresson uses contrapuntal sound not for editorializing, but to reinforce the cold reality. The soundtrack consists primarily of natural sounds: wheels creaking, birds chirping, wind howling.

of chiaroscuro, non-“flat” lighting, although this is very rare even in early Ozu

Like transcendental art, the criticism of transcendental art is a self-destructive process. It continually deals in contradictions—verbalizations of the ineffable

The Transcendent is beyond normal sense experience, and that which it transcends is, by definition, the immanent