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

Page scan 000138 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 #:
000138
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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sum, rhythm receives not even the theoretical exploration that photogénie does. As we might formulate it, the final assumption of Impressionist theory is eS Ay ReneS normative, and problematic: Filmic construction should be based not on narra tive but on rhythmic relations between images. Evaluation As I suggested at the outset of this chapter, one of the problems posed by Impressionist theory is that it never received systematic large-scale explication. The belletristic and scrappy quality of the Impressionists! writings encouraged avoidance of detailed and systematic analysis; hence a number of glaring conceptual gaps in the theory. Apart from the flaws I have discussed in pasSing, one general defect is the failure to posit a comprehensive theory of structure appropriate to the nature of the medium. This would not be so problematic if ImpresSionist theory did not insist on the autonomous purity not only of the matertals: of film but also of the structures of film. The shift from descriptive claims about the medium to normative claims about structure marks, among other things, an inability to account descriptively for an intrinsically cinematic structure. Another gap in