ABSTRACT

Ever since the 1950s, the Catholic novelist Georges Bernanos has exerted a particular influence on French cinema, both through the adaptations of his work by Robert Bresson and through his political writings, which Godard incorporated into films such as For Ever Mozart (1996). In this paper, the author aims to unearth this legacy of Bernanos in particular, and of the renouveau catholique, i.e. post-war Catholic revivalism, in general. What persists in French cinema is first and foremost an understanding of ‘incarnationalist realism’, a term the author derives from the literary critic Albert Béguin. This notion expresses a double ideal, namely that cinema is bound to ‘sensuous appearances’ and that it should reveal ‘the inner life’. In the twentieth century Bernanos noticed a decline of the inner life, and of spirituality, which accounts for the presence of evil in his novels and the condemnation of ‘the modern world’ in his political writings. This worldview, I will argue, is key to understanding the cinema of Bresson and Godard. However culturally reactionary these filmmakers may have been, this worldview brought about an artistic revolution in cinema, as they reflected on the medium’s specific potential to express the ‘unsayable’ – be it the presence of evil or the manifestation of Grace.

摘要

自 1950 年代以来，天主教小说家乔治·贝尔纳诺斯 (Georges Bernanos) 通过改编罗伯特·布列松 (Robert Bresson) 的作品和他的政治著作，对法国电影产生了特殊的影响，戈达尔将其纳入电影，例如永远的莫扎特(1996)。在这篇论文中，作者的目的是发掘贝尔纳诺斯的这一遗产，特别是新天主教派的遗产。，即一般的战后天主教复兴主义。在法国电影中坚持的首先是对“化身现实主义”的理解，这个词作者来自文学评论家阿尔伯特·贝甘。这个概念表达了双重理想，即电影必然要“感性的表象”，而它应该揭示“内在生活”。在 20 世纪，贝尔纳诺斯注意到内在生活和灵性的衰退，这也是他小说中邪恶的存在以及他的政治著作中对“现代世界”的谴责的原因。我认为，这种世界观是理解布列松和戈达尔电影的关键。无论这些电影制作人在文化上的反动如何，这种世界观都带来了电影的艺术革命，