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

Page scan 000127 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 #:
000127
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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114 those properties must also distinguish photogénie from reality “in its raw state. ‘Tor photogénie could hardly transform reality without some margin of difference. ‘The Impressionists claim that this difference lies in film technique, which not only records material reality but also expresses the film-maker's subjective, personal attitude. Such a belief follows from an implicit split which rules Impressionist thinking: a split between the profilmic event (i.e.3; what happens in front of the camera lens) and the act of filming and shaping that event a posteriori. This technical duality generally parallels the aesthetic duality of nature and imagination. Manipulating the profilmic “event itself -te'rot "enough, sinice it ‘may be ‘taken for raw nature. Technique must visibly intervene and mediate; the act of filming must expressively transform what res filmed’: “(Significantly, the priority. of filming and shaping procedures is suggested in the very term photogénie, with “"génie" punning on “genius” or "spirit.”) Writing of Renoir's revolution in realistic style, André Bazin indirectly alludes to an Impressionist conception of film: "'Cinema' no longer imposed itself between the spectator and the object, like a set of prisms or filters designed to stamp their own meaning on reality."63 Such