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

Page scan 000126 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 #:
000126
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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115 artifice, though he remains mute on the ultimate nature of that reality. (Does it pre-exist our response to it? Is the stylization a matter of projecting feelings into an object?) Schwob and Clair, on the other hand, appeal to an unabashed mysticism. Epstein is far more protean: at one moment, he holds the Bergsonian position that art cuts through our cognitive constructs to reveal the flux of life; at another moment, he is closer to a Baudelmeen theosophy which assumes that "vast analogies" interlace all phenomena; at yet another time, he seems a Platonic Idealist believing that a single image can become surrogate for a universal entity, the quintessence of the object. Such contradictions illustrate the extent to which Impressionist theory is an assemblage of various assumptions never raised to theoretical self-consciousness. To keep on our path, however, the essential point is the shared, deupanitt, "idealist" assumption of some realm beyond matter which the film artist can reveal and express. : Revelation and expression lead us to the problem of film style. Artistic expression, according to the Impressionists, is also the general task of painting and literature. If the Impressionist aesthetic is" to be true to its own essentialist assumptions, it must consider Some unique properties of the film medium. Moreover,