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“... The devil is in the detail, they say, and this is certainly the case with the films of Robert Bresson. And if the devil is there, God can’t be far away. Or can he? These are very curious details, bits of the real but not part of any attempt at realism, pieces of a puzzle that may not even exist. Feet, legs, hands, sand, straw, mud, laceless old shoes; dulled or hallucinating faces staring past the camera at some lost version of infinity; countless shots of the backs of persons walking away from us, or figures whose heads are out of the frame most of the time; sound effects that threaten to take over the whole movie; an old tweed suit that moves us far more than the fake blood on a man’s face; passing cars that are more interesting than a couple going through the motions of an embrace in the foreground; acting that is not so much unprofessional as non-existent, a mere reciting of lines from a too perfectly written book ...”

“... insists that he and his colleagues ‘always did love … a cinema that is haunted by writing’. Robert Bresson said much the same thing: ‘Cinema is not a spectacle. It’s a kind of writing.’ There is a wonderful, casual-seeming evocation of this thought in Daney’s essay from 1969 on Pasolini’s Teorema. He says we know what the desert at the ...”

“... film is based. The pages of the novel reveal the credits: a device, as André Bazin noted, that Robert Bresson borrowed for his 1951 adaptation of Georges Bernanos’s Diary of a Country Priest. Melville’s early films were bookish, and rather talky. But in the early 1960s he began to hone back his dialogue. The first seven minutes of Le Samouraï ...”

“... Pompidou Centre in Paris, a two-hour wait will get you ‘priority access’ to the Henri Cartier-Bresson exhibition. It’s available only to friends of the museum, members of the press, and those who bought tickets in advance and naively thought they’d walk straight in. As the American woman behind me remarked, it’s the kind of queue that would be ...”

“... Like Titian’s, Cartier-Bresson’s work began as the mirror of one epoch and is ending as that of another, simply because he invented the best mirror and kept polishing it Cartier-Bresson’s influence has been immense since his beginnings, not just on photography but on cinema and photojournalism, so that he has been largely responsible for 20th-century notions of what a superior realistic camera image should look like ...”

“... this the truth? Or is the truth to be found in the nuanced available light of René Burri, Cartier-Bresson and Robert Capa? ‘Truth’ not just in the sense of true to appearances. Are human beings like Weegee’s excited grinning bystanders? Or are they like Cartier-Bresson’s ...”

“... Florence Carrez, played the title role in Le Procès de Jeanne d’Arc, the classic film made by Robert Bresson in 1962; Delay became a writer not long after her role in Bresson’s film, and is now an académicienne. She drew attention to Péguy’s dream of fusing faith, hope and charity with the three Republican ...”

“... a big business, but not, as it is now, a corporate power that crosses national and class borders. Robert Altman’s new film, Prêt-à-Porter, is like La Dolce Vita grafted onto Funny Face. The unaffected and trusting Hepburn and Astaire would be marginalised or crushed in the fashion world portrayed here. Altman has never enjoyed a sustained period of ...”

“... taxonomy, People of the 20th Century, were it not for their local insignia. Henri Cartier-Bresson, for the purposes of this exhibition, is cast as a royal reporter. In 1937, his first year working for the French communist daily Ce Soir, he covered the coronation of George VI, turning his back on the royals to capture the event through the reactions of ...”

“... on the nature of the photograph than on where and how it was seen. The work of Weegee and Cartier Bresson had a first life as news, in papers and magazines, and a second in books, as art. In classic photographic monographs, a form established in the mid-20th century, most images have a page to themselves. Captions are reduced to a list at the end. If there is ...”

“... pools of unexpected calm. But he wasn’t simply a New York photographer-novelist. Convinced that Robert Frank had missed out on the real story of America in the 1950s – the story of the suburbs – he made his way across the country, and his travels put him in an entirely different relation to photographic and physical space. He left New York for ...”

“... are without the frivolity, irony, formalism or obliquity of Europeans like Kertez, Cartier Bresson or Sander. By putting the American work in its context, however, Stange is able to show that, however direct they may seem, they were as integral a part of the manipulation of the political will as the lampoon on Concini had been. Riis’s newspaper ...”

“... took a taxi, unless she hadn’t a penny, even for the Tube, whereupon she walked, as the painter Robert Colquhoun did on the evening of one of his openings, from the Colony Room to the Whitechapel Gallery, three miles in the pouring rain.Francis Bacon​ was 39 when he tipped up at the club in 1948. He was introduced to it by Brian Howard, the poet and ...”

“... in, and she enters the crypt alone. ‘Three kinds of space dominate all Tarkovsky’s films,’ Robert Bird writes: ‘nature, the home, and the shrine or cathedral.’ The ‘cathedral space is demonstrated most fully at the beginning of Nostalghia . . . in the rigorously geometrical yet disconcertingly elusive space of a columned crypt’. One reason ...”

“... on Buddenbrooks for life among the haute bourgeoisie in prewar Germany and Swiss sanatoria, and Robert Musil’s Young Törless for possible events during Brandt’s schooldays. Where there is no proof, there is supposition. For example: ‘There is ample evidence that Brandt suffered a psychic wound in his school days, something so hurtful that it affected ...”