从布列松从影到1965年这二十多年里，他仅仅拍摄了6部电影，而完成于1966年的电影《驴子巴尔塔扎尔》彻底改变了这种状况，本片曾荣获1966年威尼斯电影节评委会特别奖，从这部影片开始，布列松进入了他电影生涯最多产的时期：五年中他拍摄了4部电影，达到了他创作的顶峰期。在仅仅88分钟里，包含了极多的故事线索，众多平分重量的角色出场，故而被誉为布列松最为复杂的一部作品，戈达尔看完影片曾评论道：“每个看过电影的人绝对都会感到惊讶……因为它在一个半小时里呈现了整个世界”。在演员的表演、影片的摄影、剪辑、道具、音效、影片的隐喻与母题等方面《驴子巴尔塔扎尔》现出了成熟的“布列松风格”，可以说这部影片是对布列松前期和中期作品的总结。但在叙事结构的层面上，《驴子巴尔塔扎尔》又表现出布列松所有其他作品没有出现过的双线结构，有一些电影理论家把这种区别于好莱坞“因果式线性结构”的叙事方式称为“交织式对比结构”，这种结构模式虽然也遵循情节发展的线性时间顺序，但却同时设置了两条或两条以上的叙事线索，各条线索之间以具有不同风貌，不同取向的人物构成对比关系。在交织式对比结构中，虽然不乏矛盾冲突的尖锐性，但这种冲突往往不表现在文本的表层结构——情节冲突上，而更多的潜隐在本文的深层结构——观念含义上。就此而言，交织式对比结构中的矛盾冲突主要不是由人物自身来呈现的，而是由叙述主体（作者——隐含作者——叙述人）的“叙述话语”和风格特征来体现，来建构的。布列松用人的境遇与动物的境遇相互呼应，在写实的环境里，为我们讲述一则高于现实的寓言。我的论文将从“风格”与“叙事”两方面来分析这部影片，以期通过对电影个案的详细解读达到对布列松整体风格的把握。

Before 1965, having entered film industry for more than 20 years, Robert Bresson had shot only 6 films. But the year 1966 marked a new era for him. With the success of the film "Donkey Baltazar", winner of Venice Film Festival Special Jury Prize of the year, Bresson entered the most fruitful period - he made 4 movies in the next 5 years - a peak of his career. The film, in just 88 minutes, combines so many story lines together that it is regarded as one of the most complex works by Bresson. Godard said, after watching the film, "Everyone who saw the movie would definitely be shocked……because it showed the whole world in one and a half hour. " “Donkey Baltazar” displayed such a typical and fully formed “Bresson style” in every aspect, such as performing, film photography, editing, props, sound effects, film metaphors and motifs, that it could be regarded as a summary of the early and mid-stage of Bresson’s creative career. The narrative structure of "Donkey Baltazar" is a two-lane structure, which is defined by film theorists as “Mixed-type Contrast Structure”, distinguished from Hollywood film’s "Causal Linear Structure" . Such a structure model may also follow a linear chronological development of the plot, but may set up two or more narrative lines at the same time, corresponding characters of different directions and different relationships. In the Mixed-type Contrast Structure, sharp contradictions and conflicts are usually not reflected in the text of the surface structure - that is, not in plot conflicts, but are hidden in the deep structure of the text - the real meaning of the concept. In this context, the major conflicts in Mixed-type Contrast Structures is not revealed by the charactors acting themselves, but rather by the "discourse" and styles of the narrating subject (author - implied author - narrator). In such a film, by contrasting the various experiences of animal and people in a real world, Bresson tells a story far beyond reality. In the following paper I will try to discuss "style" and "narrative" of this film, and try to achieve through intensive interpretation, a further understanding of Bresson’s film style in general.