Foreword – Dudley Andrew
Introduction – Jonathan Hourigan
1 A predestined affair: a portrait of Robert Bresson as a youngartist in dialogue with Coco Chanel and his era – Sally Shafto
2 Robert Bresson, multidisciplinary artist: discoveringthe career across media – Colin Burnett
3 Roland Penrose, Robert Bresson and Affaires publiques – Antony Penrose
4 Occupied Bresson: Les Anges du péché and Les Dames duBois de Boulogne – Ginette Vincendeau
5 Robert Bresson’s use of optical transitions in the editing of Journal d’un curé de campagne– Roger Crittenden
6 Bresson’s philosophical commitments– Robert Pippin
7 ‘An air of truth…’: Bresson and the concept of nature – Alfonso Hoyos Morales
8 Pickpocket and Bresson’s political turn– Mathias Lavin
9 On two pickpockets, retouching some real with some real– Sarah Pickering
10 Martyr or saint? Body, image and acting style in Dreyer’s La Passion de Jeanne d’Arc and Bresson’s Procès de Jeanne d’Arc– Hanne Schelstraete
11 In the footsteps of Mouchette– Steve Gough
12 Transforming gestures: the possibilities of performance in Bresson’sMouchette – Miguel Gaggiotti
13 Innocence and Oppression in Au hasard Balthazar and Mouchette: a conversation between Sarah Dobai and Miguel Gaggiotti– Sarah Dobai and Miguel Gaggiotti
14 Marginal/Minimal: Robert Bresson, Céline Sciamma and applied cinephilia – Tim Palmer
15 Forging a Bresson house style: cinematography in the colour films – Raymond Watkins
16 States of soul: affinities in Robert Bresson and Alan Clarke– Richard T. Kelly
17 Grace in the films of Robert Bresson– Elise DuRant
18 Playing with mirrors: Quatre nuits d’un rêveur– Dominic Lash
19 ‘Ô argent, Dieu visible!’ Radical politics and the lure of transcendence in Le Diable probablement and L’Argent– Karel Pletinck
20 Notes on L’Argent– Jonathan Hourigan
21 ‘La Genèse’ and Robert Bresson’s biblical poetics– Sean Burt
Index