Movie Au Hasard Balthazar by Robert Bresson

Movies be representation of the genial scenario of the contemporary period. Along with entertain handst, these have respective(a) social, political and psychological perspectives attached to it. This story is based on movie Au Hasard Balthazar by Robert Bresson. In his 1966 film, Robert Bresson, has foc occasiond generally on his fe phallic character Marie, and her donkey Balthazar. The plot intertwines the point of both these elements, until lastly the symbolic connection between the ii is established. While the donkeys indispensableness is clear, we cannot be sure of Marie, beyond what we are told in the narrative.A shy, farm girl in the French countryside, Marie follows what something of Maggie Tullivers experience, suffering contumely from different people in her life, hesitate between lovers, finally deciding that she essential accept fate, perhaps even cuss on some sort of sad occurrence to relieve her of her pain. This has been called narcissistic pettishness in literature terminology, and finds its sharpest embodiment in the character of Marie. She too faces the trauma of her nurtures disgrace, because of her fathers decision, a mother who stands by the father just now ultimately sees the pointless agony of a self pride, and then poverty and loss.The agent why women are presented in much(prenominal) terms, is as Laura Mulvey would say in her stress Visual Pleasure and Narrative movie house, delinquent to the unconscious of patriarchal society. In this preexisting fascination with the female object, phallocentrism depends on image of the castrated woman. Female symbolization speaks of castration and her lack produces the phallus as symbolic. It stands as a signifier to the male other. It is thus the bearer of meaning, and not its maker. Women are bound by lingual command to this situation, a command compel by man to carry proscribed his fantasies and obsessions.The formulation surely owes something to Bressons Au Hasard, Balthaz ar, whose tangible ass here becomes a synecdochical bull-a creature whose portion of spirituality is realise in expressions of indiscriminate wrath and familiar irritability. (Librach, 1992) There are dickens processes at work in movie house. One is the insulation of erotic identity of the subject, the viewer, from the object, the character on screen. While for women, the way that other characters in the film look at her is the homogeneous as how viewers look at her, with the male, the viewer feels as though he is looking at the utter(a) mirror image of himself.Thus Gerard with his leather jacket and his motorcycle, his parade of authority, often through violence and abuse, looks the perfect embodiment of masculinity, someone that the heroine, simple by virtue of occupying screen space, must(prenominal) regress for in the end. It rests on the belief that from each one one of us essentially thinks of himself as a Gerard. While recent feminist studies would refute this and recent changes in cinema have tried to equate the two sexes on screen, the screen largely rest a sexual parameter due to its connection with the ego, something that greatly manifests sexuality.The woman, however, is isolated, put on display and sexualized. This is what Mulvey terms the castration complex. In order for the woman to no protracted be a threat because she lacks what men have, she must be glamorized into an object of desire, or fetish. Marie finds a consolation in the donkey. It has been presented as the other, against which Marie can understand the need to empathize and be pitied and loved. Marie is essentially a saviour figure, whose ultimate ideals find their embodiment in Balthazar.Perhaps it is for this reason that the donkeys fate has been presented explicitly, while Maries future stiff in doubt. The perfect Christ must face explicit crucifixion. Marie might seem overtly tragic. This is somewhat due to Bressons insistence on purity of emotion. In this man ner, Balthazar is the perfect Bresson character. Covered with snow, we know that he is cold, his tail on fire, we know that he is scared, and finally finding peace and still among the sheep, we know that his end has come.When three children name it symbolism tells us here that in that location is a place for all creatures in the house of god. The town drunkard Arnold is shows compassion, scorn his other crimes. All the characters in the hamlet are essentially flawed. However, the films religious imagery and minimal use of aesthetic detail makes it a tendinous statement that highlights the barest of human emotions and thoughts. Reference Librach, Ronald S. The proceed Temptation in Mean Streets and groundless Bull. Literature/Film Quarterly 20. 1 (1992) 14+. Questia. Web. 11 May 2010.