I know, I know, that’s the least inviting title to a blog post ever but don’t go! There’s videos and everything!
Still here? Okay then. First of all you should know that I adopted/poached/stole the term ‘transcendental style’ from the great Paul Schrader‘s only kind of great book Transcendental Style in the Films of Bresson, Ozu and Dreyer. The term ‘the Ascetic aesthetic’ is all mine though, which I guess is something of a Pyrrhic victory but anyways, the point is that there exists a kind fo religious film that exhibits a certain style suited to religious topics. Sure, movies about religion and religious topics have always existed but no-one is ever going to mistake the films of Bresson, Ozu and Dreyer for this thing, for example:
Or even for that weird-looking Heaven is For Real movie that was the number 2 box-office film in America after Captain America: Winter Soldier but not even released in cinemas here because of the UK’s general, if diminishing, trend of not being insane.
Also, I’m not arguing that there is a definitive, objective thing that we can call ‘transcendental style’ and then piss our pants when a film does or does not conform to that particular style because A) who gives a shit? and B) there already exists some debate as to the merits of Schrader’s analysis and its efforts to produce what Colin Burnett calls an, ‘hermeneutical monopoly’ which leaves no room for other interpretations. And the last thing any of us wants is to accidentally create a hermeneutical monopoly. No sir.
However, ‘transcendental style’ seems like a useful model or metaphor for considering how certain films choose to present spiritual and religious themes. It also gives us a way of suggesting a link between the films of Bresson, Ozu and Dreyer that Schrader analyses, with the more recent films such as Darren Aaronofsky’s The Fountain (2006) , Gasper Noe’s Enter the Void (2009) and Terrence Malick’s The Tree of Life (2011). The bridge between them being, I want to argue, Stanley Kubrick’s 2001: A Space Odyssey (1968). More on all that in part two. In these posts I’m going to suggest that the different forms of ‘transcendental style’ in these films is akin to the differing approaches to transcendence in various mystical and religious schools. One is ascetic, based on self-control, abstinence from sensual pleasures and deep, quite contemplation of the ineffable. The other is ecstatic, finding transcendence in sudden ego-loss, immersion in sensual pleasures like sex or drugs, and the experience of cosmic consciousness.