Diary of a Country Priest: The Transcendent
on Film

By Wanda Avila, Ph.D.

Group Notes

1. André Bazin, “Le Journal d’une curé de campagne and the Stylistics of Robert Bresson,” in James Quandt, ed., Robert Bresson. (Toronto: Toronto International Film Festival Group, 1998), p. 34.

2. Georges Bernanos, The Diary of a Country Priest, trans. Pamela Morris (Chicago: Thomas More Press, 1983; originally published in France in 1937).

3. William Bush, Georges Bernanos ( New York: Twayne Publishers, Inc., 1969), p. 142.

4. Paul Schrader, “Robert Bresson, Possibly,” in Quandt, p. 487.

5. Phillip Lopate, “Films as Spiritual Life,” Film Comment, 27 November-December, 1991, p. 28.

6. André Bazin notes the parallels between the priest’s two fainting fits during the night, the fall in the mud, and the vomitings of wine and blood with the falls of Jesus, the Blood of the Passion, the sponge with vinegar on it, and the defiling spittle. In addition, he says, “for the veil of Veronica we have the cloth of Sérahita; then finally the death in the attic--a Golgotha with even a good and a bad thief.” “Le Journal,” p. 34.

7. William James, Varieties of Religious Experience: A Study in Human Nature (New York: Modern Library, 1902), p. 255.

8. Paul Schrader, Transcendental Style in Film: Ozu, Bresson, Dreyer (Berkeley: University of California Press, 1972), pp. 61-86.

9. Keith Reader, “Journal d’une curé de campagne,” Robert Bresson ( Manchester: Manchester University Press, 2000), p. 38.

10. J.E. Cirlot, A Dictionary of Symbols. New York: Philosophical Library, 1962, p. 66.

 


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