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

Page scan 000155 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 #:
000155
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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142 with logically parallel traits of other styles. Such contrasts will throw into relief salient features of Impres Sionist style. The Problem of Film Style Style has been an Suteristionrlc onesies. comsent in aesthetics for centuries, and it is not within the scope of this study to review the literature or to reinvestigate the concept itself. For purposes of this investigation, an object-centered model of style was chosen--a model, that is, which locates style not in the artist but rather in properties of art works. Monroe Beardsley's clarification of the concept of style in art criticism has been selected because of such object-centered concerns. Beardsley takes for granted the common assumption that art works are wholes composed of subsidiary parts which are related in various ways. Within the class of "form" statements (i-e., “statements that describe internal relations among the elements and among the complexes of the object"4), Beardsley distinguishes two kinds of aesthetic form: structure and texture. "Structure" refers to "relatively large-scale relations among the main parts"; for example, the movements of a symphony, the acts of a play, the triangular composition of a painting. "Texture"