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

Page scan 000134 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 #:
000134
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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It is worth recalling a remark of Epstein's which I quoted earlier: "Le cinéma doit chercher 4 devenir peu 4 peu et enfin uniquement cinématographique, c'est-a-dire a n'utiliser que des éléments photogeniques. La photogénie est l'expression la plus pure du ethane es The descriptive and normative sides of the Impressionist theory of the image are apparent: all films have some measure of photogénie, but the film-maker's style should not work to conceal ito (through, say, theatrical techniques and acting) but should make it more apparent (especially through the powers of the camera)... As Jean Tedesco proposes, cinematic expressory jean simultaneously reveal a new meaning in reality and project subjective mental states.°2 Cinema thus. transcends sheer mechanical recording, and it does this chiefly through camerawork. But Impressionist thinkers ignore the problem of explaining precisely how the product of such cinematic expression differs from the expressivity produced: in other art’) medias © As: in) sovmany other areas, Impressionist theory begins with an initial assumption (here, the uniqueness and autonomy of the materials of various media) but fails to carry it through logically. We may now formulate the third fundamental assumption of Impressionist film theory: The specific nature of the film image is its