Transcendental Style in Film: Ozu, Bresson, Dreyer
E563182
Transcendental Style in Film: Ozu, Bresson, Dreyer is a seminal work of film theory that analyzes how directors Yasujirō Ozu, Robert Bresson, and Carl Theodor Dreyer use minimalist cinematic techniques to evoke spiritual and transcendent experiences.
All labels observed (2)
| Label | Occurrences |
|---|---|
| Spiritual Style in the Films of Robert Bresson | 1 |
| Transcendental Style in Film: Ozu, Bresson, Dreyer canonical | 1 |
How this entity was disambiguated
This entity first appeared as the object of triple T6043115 — resolving that mention is where its identity was fixed. The disambiguator weighed these candidate entities and picked the highlighted one (or “None”, minting a new entity). This is how homonymy is resolved: the same surface form can point to different entities.
NED1
Entity disambiguation (via context triple)
gpt-5-mini-2025-08-07
Target entity: Transcendental Style in Film: Ozu, Bresson, Dreyer Context triple: [Paul Schrader, authorOf, Transcendental Style in Film: Ozu, Bresson, Dreyer]
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A.
The Film Sense
The Film Sense is a seminal theoretical work by Soviet filmmaker Sergei Eisenstein that explores the principles of film montage and cinematic expression.
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B.
Cinema 2: The Time-Image
Cinema 2: The Time-Image is a major philosophical work by Gilles Deleuze that develops a theory of modern cinema through the concept of the "time-image," emphasizing new ways films represent time, perception, and thought.
-
C.
Cinema 1: The Movement-Image
"Cinema 1: The Movement-Image" is a seminal philosophical work by Gilles Deleuze that develops a rigorous taxonomy of cinematic images and signs to rethink movement, time, and perception in film.
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D.
Kino: A New Art
"Kino: A New Art" is a seminal theoretical work by Soviet filmmaker Lev Kuleshov that helped define early film theory and the artistic principles of cinema.
-
E.
Soviet montage school
The Soviet montage school was an influential early 20th-century film movement in the Soviet Union that emphasized dynamic editing and the collision of images to create meaning and emotional impact, shaping the theory and practice of cinema worldwide.
- F. None of above. chosen
- G. Unsure - the case is ambiguous/there is not enough information to decide.
NED2
Entity disambiguation (via description)
gpt-5-mini-2025-08-07
Target entity: Transcendental Style in Film: Ozu, Bresson, Dreyer Target entity description: Transcendental Style in Film: Ozu, Bresson, Dreyer is a seminal work of film theory that analyzes how directors Yasujirō Ozu, Robert Bresson, and Carl Theodor Dreyer use minimalist cinematic techniques to evoke spiritual and transcendent experiences.
-
A.
The Film Sense
The Film Sense is a seminal theoretical work by Soviet filmmaker Sergei Eisenstein that explores the principles of film montage and cinematic expression.
-
B.
Cinema 2: The Time-Image
Cinema 2: The Time-Image is a major philosophical work by Gilles Deleuze that develops a theory of modern cinema through the concept of the "time-image," emphasizing new ways films represent time, perception, and thought.
-
C.
Cinema 1: The Movement-Image
"Cinema 1: The Movement-Image" is a seminal philosophical work by Gilles Deleuze that develops a rigorous taxonomy of cinematic images and signs to rethink movement, time, and perception in film.
-
D.
Kino: A New Art
"Kino: A New Art" is a seminal theoretical work by Soviet filmmaker Lev Kuleshov that helped define early film theory and the artistic principles of cinema.
-
E.
Soviet montage school
The Soviet montage school was an influential early 20th-century film movement in the Soviet Union that emphasized dynamic editing and the collision of images to create meaning and emotional impact, shaping the theory and practice of cinema worldwide.
- F. None of above. chosen
Statements (42)
| Predicate | Object |
|---|---|
| instanceOf |
book
ⓘ
film theory book ⓘ |
| analyzes |
Diary of a Country Priest
ⓘ
linked to:
Un Curé de Province
Ordet ⓘ Tokyo Story ⓘ |
| associatedWithMovement | transcendental cinema ⓘ |
| author | Paul Schrader ⓘ |
| centralConcept | transcendental style ⓘ |
| countryOfOrigin |
United States
ⓘ
linked to:
United States of America
|
| criticalReception | highly influential in film theory ⓘ |
| explores |
relationship between style and spiritual experience
ⓘ
use of austerity in film form ⓘ use of everyday detail to evoke the sacred ⓘ |
| focusesOn |
Carl Theodor Dreyer
ⓘ
Robert Bresson ⓘ Yasujirō Ozu ⓘ |
| genre | academic writing ⓘ |
| hasEdition | 2018 revised edition ⓘ |
| influenced |
cinephile discourse
ⓘ
critical understanding of slow cinema ⓘ film studies ⓘ |
| language | English ⓘ |
| notableFor |
comparative study of Ozu, Bresson, and Dreyer
ⓘ
systematic analysis of spiritual style in film ⓘ |
| pageCountApprox | 200 ⓘ |
| publicationYear | 1972 ⓘ |
| publisher | University of California Press ⓘ |
| relatedWorkByAuthor |
Taxi Driver (screenplay)
ⓘ
linked to:
Taxi Driver
|
| structure |
case studies of three directors
ⓘ
theoretical introduction ⓘ |
| subject |
Carl Theodor Dreyer
ⓘ
Robert Bresson ⓘ Yasujirō Ozu ⓘ film theory ⓘ minimalist film style ⓘ spirituality in cinema ⓘ transcendental style ⓘ |
| theorizes | a progression from the everyday to the transcendent ⓘ |
| timePeriodDiscussed | 20th-century cinema ⓘ |
| usesConcept |
decisive action
ⓘ
disparity between the immanent and the transcendent ⓘ stasis ⓘ |
How these facts were elicited
The pipeline generated the facts above by prompting gpt-5.1 with this entity's name + description and the instruction below.
Instruction
You are a knowledge base construction expert. Given a subject entity and a description of it, return factual statements that you know for the subject as a JSON list of dictionaries(triples), where keys must be "subject", "predicate" and "object". The number of facts may be very high, between 25 to 50 or more, for very popular subjects. For less popular subjects, the number of facts can be very low, like 5 or 10. # Requirements - If you don't know the subject at all, return an empty list. - If the subject is not a named entity, return an empty list. - Include at least one triple where predicate is "instanceOf". - Do not get too wordy. - Separate several objects into multiple triples with one object.
Input
Subject: Transcendental Style in Film: Ozu, Bresson, Dreyer Description of subject: Transcendental Style in Film: Ozu, Bresson, Dreyer is a seminal work of film theory that analyzes how directors Yasujirō Ozu, Robert Bresson, and Carl Theodor Dreyer use minimalist cinematic techniques to evoke spiritual and transcendent experiences.
Referenced by (2)
Full triples — surface form annotated when it differs from this entity's canonical label.
Against Interpretation and Other Essays
→
hasEssay
→
Spiritual Style in the Films of Robert Bresson
ⓘ
linked to: Transcendental Style in Film: Ozu, Bresson, Dreyer