Posted: June 22nd, 2022

Cinematic Representation Of Trauma

Question:

Discuss the Cinematic Representation of Trauma.

Answer:

Robert Bresson, a French filmmaker is one the most well-known of the 21st Century.

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His work often depicts the hardships of those who are in great difficulty and struggle to attain an epiphany or enlightenment that aids their characters to grow and mature (Burch (2014)).

His films are marked with stern austerity which prompts viewers’ attention to the acting skills of the actors.

Robert Bresson’s movies are an example of French master filmmaker. The films make it easy for viewers to think about the characters and their shades.

His films, like Mouchette Au Hazard Balthazar or The Diary of a Country Priest or Pickpocket, have a solemn quality. They reflect the submissiveness of protagonists who surrender to a force, which can be external or internal to them.

This is a write-up about Mouchette’s 1967 film.

Mouchette’s 1967 film portrays the story of a young girl suffering from hardships since her youth.

Mouchette, the main character in the film, portrays the heartbreaking depiction human desperation.

Mouchette, a young girl from France, is the protagonist.

She is confronted with many problems early in her life. These include a grieving mother, an absent father and a brother, who need to be taken care.

The film depicts the character’s journey.

It portrays the journey of the teenager protagonist, who seeks refuge in both the daily chores as well as in nature. (Quandt (2000)

Bernanos’ work is heavily in the inspiration of the story.

Nadine nortier’s Mouchette portrays the tribulations and struggles of a poor, but determined, peasant girl.

This film is also a symbol of the minimalistic, austere approach of the filmmaker (Cresswell and Karimova 2013, 2013).

Robert Bresson emphasizes the acting ability of the protagonists in each of his films.

This film is no different.

Alvim, 2015: The actor reflects the helplessness of the protagonist with a charmingly simple and effective performance.

The actor portrays her character’s morose, yet endearing elegance in the film for a long time.

The audience almost feels that Mouchette’s pain is a catharsis.

The abuse of her father and the humiliating looks and stares of the villagers are all examples of the hardships humans face.

Bresson used sparing camerawork in his film Mouchette.

Bresson used extreme close-up shots to show the eyes of his character. This captures his emotions very well (Bresson 2016).

The bar scene with its headless shots of people is a brilliant way to show the loneliness of the protagonist.

The protagonist is on a quest for companionship and acceptance, but she is rudely denied by violence and betrayal.

Mouchette is a powerful portrayal of human nature.

The character’s ultimate submissiveness, which makes the audience feel uncomfortable, is a stark contrast to the realistic portrayal of everyday life.

The films of Robert Bresson are divided into genres and styles.

CINEJ Cinema Journal, 5(1): 114.

Notes on Cinematograph.

New York Review of Books.

Theory of film practice.

Princeton University Press.

‘Misfortune’s image’: The Cinematic Representation Of Trauma in Robert Bresson’s Mouchette (1967).

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