The Wind Blows Where It Wishes: Metalepsis and the Gospel of John in Robert Bresson’s A Man Escaped
Robert Bresson’s A Man Escaped (1956) adapts its source material to refashion a French prisoner’s historical escape from Nazi captivity into an extended meditation on the Gospel of John. The film’s French title—Un condamné à mort s’est échappé ou Le vent souffle où il veut ("One Condemned to De...
| Nebentitel: | Twenty More Years of Bible and Film |
|---|---|
| 1. VerfasserIn: | |
| Medienart: | Elektronisch Aufsatz |
| Sprache: | Englisch |
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| Veröffentlicht: |
2025
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| In: |
Biblical interpretation
Jahr: 2025, Band: 33, Heft: 4/5, Seiten: 338-355 |
| weitere Schlagwörter: | B
Metalepsis
B Gospel of John B Intertextuality B Robert Bresson B A Man Escaped |
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| 520 | |a Robert Bresson’s A Man Escaped (1956) adapts its source material to refashion a French prisoner’s historical escape from Nazi captivity into an extended meditation on the Gospel of John. The film’s French title—Un condamné à mort s’est échappé ou Le vent souffle où il veut ("One Condemned to Death Has Escaped or The Wind Blows Where It Wishes")—takes its secondary designation from John 3:8. Bresson’s cinematic presentation creates ellipses in the viewing experience that require broad familiarity with John’s Gospel and encourage the readerly recollection of Johannine material that lies beyond the explicit citations—a poetic-literary device known as metalepsis. This methodology prompts viewers to recover unstated Gospel text and discover Christological figuration throughout the film. Metaleptic engagement with Bresson’s film vis-à-vis John situates A Man Escaped as a restaging of the Gospel story that highlights its protagonist’s ultimate freedom as an expression of Christian salvation. | ||
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