Blog #10: reflection on “Transcendental Style in Film”

 Paul Schrader’s book “Transcendental Style in Film” delves into a fascinating exploration of cinema that transcends the ordinary and reaches for the ineffable. In this work, Schrader identifies a common film style employed by diverse filmmakers across cultures. Through reading it what stood out to me the most was the chapter that stands out for its profound insights is the one where Schrader contrasts Bresson’s and Dreyer’s portrayals of Joan of Arc. Bresson’s Joan, is exemplified in films as a “Pickpocket”, and employs a rigid style to ward off superficial emotional release, whereas Dreyer’s Joan presents a different approach.  Understanding film through a religious perspective volves recognizing the spiritual dimensions that film can convey. This approach is not about imposing religious doctrine onto film but rather about discerning the spiritual resonance within the cinematic experience. In this context, films become allegorical, carrying symbolic weight that transcends their narrative. They invite viewers to engage with the existential questions that religion often grapples with: the meaning of life, the nature of suffering, and the possibility of redemption. For instance, Bresson’s use of non-professional actors and minimalist storytelling in “Pickpocket” reflects a monastic simplicity that can be likened to religious asceticism, prompting viewers to look beyond the surface for a more profound understanding. In relation to class we examine films through this lens, and are encouraged to seek out the transcendent qualities that lift the spirit and provoke a sense of something greater than ourselves.