Word: bresson
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Dates: during 1970-1979
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...curious that my friend Henri Cartier-Bresson should assail my friend Ansel Adams [Sept. 3] for "doing pictures of rocks" instead of being socially committed while "the world is falling to pieces." Except for a couple of chilling end-of-the-war shots of Nazi collaborators being interrogated in his homeland, and poignant images of quilted Chinese peasants playing mah-jongg during the fall/liberation of Nationalist Peking, not a single Cartier-Bresson photograph comes to mind about any of the world's miseries covered by other, often less gifted but more involved photographers...
...advertising photography, industrial brochures and journalistic work for magazines like FORTUNE and LIFE. His letters to Stieglitz were full of scorn for his commercial patrons. But in the meantime he was earning, among other colleagues, a reputation as the least socially committed of serious American photographers. As Henri Cartier-Bresson once remarked, "The world is falling to pieces?and Weston and Adams are doing pictures of rocks!" Adams refused to deal with the standard subjects of post-Depression America, the breadlines, Okies, rallies and bums. When he photographed a Japanese American internment camp in California in 1943-44, the results...
...show is clear: in the judgment of MOMA?the first American museum to treat photography systematically as an art and perhaps the most powerful taste-forming museum in the country?the documentary or "concerned" tradition, which ran from Jacob Riis and Lewis Hine through figures like Henri Cartier-Bresson, Margaret Bourke-White and W. Eugene Smith, has petered...
...talk about his films and his politics: Makavejev has been interviewed frequently in this country, where he has spent a large part of his time since 1968. As one of five directors of the year, he was interviewed in the International Film Guide 1973, along with Bergman and Bresson. But he has never, until now, spoken candidly to journalists about himself and his personal philosophy...
Each fall the New York Film Festival at Lincoln Center serves as a 2½-week primer on the state of world cinema. This year, as usual, there is a heavy emphasis on big-name European directors (Bertolucci, Buʼnuel, Pasolini, Bresson), a shortage of American movies, and a sprinkling of exotic entries from underdeveloped nations. Only a few of the festival films are immediately released elsewhere. Among them...