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

Page scan 000135 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 #:
000135
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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Le? possession of photogénie, which consists of the power of film techniques (chiefly camerawork) to express the film maker's vision of otherwise hidden meanings in veality. The Nature of Filmic Construction Soe eee A SL ONS UPUCE LON I suggested earlier that Impressionist film theory does not develop a fundamental conception of cinematie structures that? is, iti eidtistinpuishes film from other arts on material urDunltey not structural ones. This lack Surfaces again when Impressionist theory tries to define an’ aesthetic or Tilmic. construct ion.” The! result is’ a sketchy, problematic pair of normative concepts: first, a denial that cinematic structure should owe anything to aia ina tele or literary structure and, second, an assertion that filmic structure should be based on "visual rhythm." In their eagerness to establish cinema's unique aesthetic domain, many Impressionists go beyond the second proposition formulated above to claim not only that the basic material of film is moving images but also that film should not borrow its dramaturgy from other arts. Note that this is a contingent and normative claim. It is one thing to say that all films consist of moving images and possess some measure of photogénie. It is another thing to say that some films copy literary or theatrical