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

Page scan 000152 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 #:
000152
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
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

149 The Logical Nature of the Paradigm This study assumes that a style paradigm may be constructed on one of two logical models.The first is that. of necessary and sufficient conditions: that is, first, to be a member of X class a film must have a certain trait (necessary condition), and secondly, having that trait constitutes grounds for inclusion in X class (sufficient condition). For example, a necessary-and-sufrficient-conditions model might entail our requiring that an Impressionist film contain rhythmic editing and that the presence of rhythmic editing be sufficient to make a given film a member of the Impressionist class. Following the lead of Ludwig Wittgenstein, many philosophers have criticized the necessary-and-sufficient-conditions model. In aesthetics, Morris Weitz has attacked the model in a celebrated essay, "The Role of Theory in Aesthetics," where in he argues that definition of the concept art and of artistic styles by necessary and sufficient conditions is a fundamental error because the logic of such concepts does not permit the. categories to be closed by arbitrary stipulation. This study does not utilize the necessary-andsufficient-conditions model for the empirical reason that it is too restrictive. If one is to avoid arbitrary