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 #:
000158
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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145 transformation moves in the direction of suggesting either the film-maker's attitude or characters' inner states. In the first event, film techniques are bent to the purpose of stressing the film-maker's Samiasnta tka of the filmed material. More often, it is characters' psychological states which are expressed through the camerawork, mise-enscéne, optical devices, and editing. Camera distance, angle, and movement present either a character's optical point of view or represent a state of the character's feeling. To a lesser extent, mise-en-scéne permits emphasizing psychologically significant elements, but (in contrast to German Expressionism) a character's subjective state is almost never projected. directly through the mise-en-scéne. Optical devices (dissolves, superimpositions, gauze-focus) are much more important than mise-enscéne in denoting subjectivity: through deformations and distortions, optical devices represent purely mental images (e.g., a fantasy), affective states (e.g., gauzefocus over a character's wistful expression), or optically subjective states (e.g., weeping, blindness). Finally, editing in Impressionist films is often used to denote subjective time, space, and rhythm. Cuts. to flashbacks, memory-images, and fantasies give us the temporal pattern of.a) character's; thoughts..,,..Intercutting),shots,.of. the