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

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 #:
000148
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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CHAPTER IV: A PARADIGM OF IMPRESSIONIST FILM STYLE Constructing a Style Paradigm The Impressionist movement consists of more than an ensemble of cultural activities and an implicit theoretical position. Perhaps the most important contribution of the movement is the films which its members made. In these films, historians like Leprohon, Langlois, Burch, Sadoul, and Mitry have perceived a distinct style. Moreover, as Chapter I has suggested, such a perception of stylistic homogeneity was present among the members of this and other groups. But no writer has specifically identified the features of the Impressionist style. Taking previous research as an initial guide, my project a this chapter is to identify the features of the films which produce the sense that these films may be grouped significantly. Such features can then be assembled into a paradigm which will consist of a systematic outline of the Significant traits of the Impressionist style. Before constructing the paradigm, however, it is necessary to determine the set of films to be considered, the logical nature of the proposed paradigm, and the concept of film Style most appropriate to this study.