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French Impressionist Cinema: Film Culture, Film Theory, and Film Style (December 1974)

Page scan 00055 from French Impressionist Cinema: Film Culture, Film Theory, and Film Style

Record Details:

Title:
French Impressionist Cinema: Film Culture, Film Theory, and Film Style
Date:
December 1974
Publisher:
University of Iowa
Volume:
French Impressionist Cinema: Film Culture, Film Theory, and Film Style (Dissertation, 1974)
Leaf #:
00055
Language:
English
Collection:
Global Cinema
Format:
dissertations
Contributor:
Wisconsin Center for Film and Theater Research
Coordinator:
Media History Digital Library
Description:
Doctoral dissertation entitled, "French Impressionist Cinema: Film Culture, Film Theory, and Film Style," by film scholar David Bordwell. Submitted to the University of Iowa in 1974. Document is scanned from the David Bordwell and Kristin Thompson papers, archived at the Wisconsin Center for Film and Theater Research.
Date Added:
May 23, 2024
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in return. She manages to repay him and refuses to submit. to his sexual demands; enraged, he brands her shoulder with a red-hot iron. After the husband attacks the Japanese, he is. about.to be judged guilty of .assault when in the courtroom the wife dramatically reveals the mark of the iron on_her flesh; the husband is acquitted. The intrigue's likeness to Boulevard melodrama did not, however, lead some viewers to ignore the film's undeniably impressive acting and mise-en-scéne./° In The Cheat, Sessue Hayakawa's impassive performance as the vengeful Japanese is heightened by DeMille's expressive lighting effects. The, film abounds in abrupt changes in lighting: stark sidelighting reveals Hayakawa as he switches off the room light, leaving only a glowing brasier for illumination; mottled sunshine through leaves throw trembling Shadows on the characters; the space of a jail cell is Suggested solely by means of a pattern of barlike shadows thrown across the prisoner. Several moments in The Cheat use quite, spectacular lighting effects. In one Shot, for example, the Japanese parlor, containing brasier and white paper screens, is wreathed in smoke issuing from a small altar. When the Japanese enters, he snaps on the room light, adding a strong illumination from the side. Then, after a short scene in which the society woman collapses in fear, the Japanese makes her stoop down and he turns