Start Over

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

Page scan 000162 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 #:
000162
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 det inibies feature of Impressionist film style. In the paradigm, I have assumed the presence of narrative in Impressionist cinema and in the standard commercial work; the paradigm will isolate differences on the textural rather than the structural level. Before turning to a more detailed examination of the paradigm, two final points must be noted. First, to include descriptions of all the instances of a given stylistic device in the text of this chapter would render it bulky and unreadable. I have instead confined myself to selected examples and relegated most of my evidence to Appendix B. Second, the following paradigm is organized deductively, considering stylistic parameters common to all films: camerawork, mise-en-scéne, optical devices, and editing. As mentioned above, this has been done not only to show systematically the Impressionist utilization of standard parameters but also to facilitate comparison between Impressionist films and other kinds. Accordingly, after the paradigm has been outlined, I shall use it to compare: a) French Impressionist films with French nonImpressionist films, both narrative and non-narrative; and b) French Impressionist films with German Expressionist and Soviet montage films.