Abstract Robert Bresson did not only distribute musical excerpts and sounds in his films, but also often conceived the whole film running in a general rhythm, including the repetition and variation of shots in their contents and length. David Bordwell (1985) considered Bresson’s films as examples of the style centred “parametric mode of narration.” More than that, after Jean-Louis Provoyeur (2003), we consider that many shots in Bresson’s films have a characteristic of “denarrativization,” a conception based on musicality, devoid of representational constraints. One example is the tournament sequence in Lancelot of the Lake (Bresson, 1974), in which visual and sound elements are repeated as a “cell” with variations in length, angle of shot and with addition or suppression of elements. The author also analyses some aspects of The Trial of Joan of Arc (1962), in which the rhythmic sensation is created by the procedure of repetitive alternation of image, speech and space.1

中文翻译：

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罗伯特·布雷森（Robert Bresson）的两部电影中的图像和声音节奏

摘要罗伯特·布雷森（Robert Bresson）不仅在他的电影中分发音乐摘录和声音，而且经常以整段节奏构思整部电影，包括镜头内容和长度的重复和变化。戴维·博德威尔（David Bordwell，1985年）将布雷森的电影视为以“叙述的参数化模式”为中心的风格的例子。更重要的是，在让-路易·普罗弗（Jean-Louis Provoyeur）（2003）之后，我们认为布雷森电影中的许多镜头都具有“脱味”的特征，这是一种基于音乐性的概念，没有代表性的限制。一个例子是在湖的兰斯洛特（Bresson，1974）中进行的比赛序列，其中视觉和声音元素作为“单元”重复出现，其长度，投篮角度各不相同，并且添加或抑制了元素。