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

Page scan 000128 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 #:
000128
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 an imposition is essential for the Impressionists. It is not enough to point the camera and turn it on, says Canudo; the mind of the artist must be expressed: "L'écraniste se doit de transformer la réalite 4 l'image de son réve intérieur."64 Similarly, for Germaine Dulac, although cinema's technical base is photography, its aesthetic function is to use technique for expression of the director's mind. 5 By implication, then, the film artist must somehow grasp the ideal realm beyond appearances and then utilize the techniques of cinema to reveal this ideal realm. This revelation of feeling (what Mallarmé might have called "&tats d'adme") is in turn grasped by the spectator. What are the technical capacities of the medium that Impressionism finds important for the revelation of mental states? Because of the ‘nega assumptions of cinema's transforming and revelatory powers and of cinema's distinctness from theatre, Impressionist theory emphasizes manipulation of the camera as the aesthetic basis of: photogénie. Here the theory again takes on a normative slant; since the eq neie can transform nature, it should do it primarily through camera technique (and not, say, primarily through mise-en-scéne, which is identified as a theatrical devioey., The split between profilmic event and filming, we recall, already stresses the