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 #:
000156
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.

144 refers to "relatively small-scale relations among the subordinate parts"; for example, the shift from one melody to another, the phrasing of a soliloquy, the dynamics of one patch of color in relation to another. ° Beardsley goes on tO, point: .out reper Critics ’..use.of the canis "style" can be translated into these relational concepts. For instance, a critic may speak of the style of an individual painting or musical composition; these will be statements about recurrent features of the texture of the Sgibanielh ian or. the, musical. piece... ("The painting's. style; utilizes thick brushstrokes"; "The symphony's style is one of dark harmonies and abrupt modulations.") In sum, Beardsley points out that critics’ style-statements make claims about recurrent features of the work's texture; similar claims about texture may be made about groups of works. Since film study has been hampered by inexact and inconsistent attempts to define film style, I shall use Beardsley's dtabinctione in this chapter. Texture in a film, then, can refer to any small-scale relations of parts. Since a,film:not onlyspresents spatial.-relations but also unfolds in time, these small-scale relations may be either simultaneous or successive. Simultaneous small-scale relations would inelude,:for example, themrelation of a character to his or her setting, or the relation of a light source to an object: that is, spatial relations.