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

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 #:
000110
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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a feelings. This entire conception of art evidently owes a good deal to the Symbolist movement in French poetry. The insistence on the artist's transformation of nature, the stress on feeling, and the role of suggestiveness testify to Impressionism's debt to Symbolist theory; we shall see other debts emerge later. For the moment, we should note that, as A. G. Lehmann has shown in The Symbolist Aesthetic in France, Symbolism was far from offering. a coherent theory of art. Impressionist theory is no freer of difficulties. For example, the Impressionist's stress on art's evocation of feeling sidesteps’ the question of the nature of feeling and its relation to objects and ideas. Most. basically, what is a feeling? A physiological characterization would be at odds with the idealist assumptions we shall see operating in Impressionist theory. But then how does the Impressionist theorist avoid an idealism which posits the feeling as an entity existing solely in the minds of the artist and perceiver?. In what sense 18 such. feeling to be given. the status of "truth"? Moreover, on the idealist model the evocation which Impressionism prizes becomes problematic with respect to the object which we call a work of art. Not only is the status of the work reduced to that of the consequence or cue for purely private feelings, but a