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

Page scan 000163 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 #:
000163
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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Characteristics of the Image Paneer nent, eek we lee | SS For explanatory purposes, this section is divided into three parts: camerawork; mise-en-scéne; and optical devices. In conformity with standard critical usage, I Shall use all of these terms in an object-oriented sense. Thus although the distance, angle, and movement of the camera might seem to refer to properties outside the image (since the camera filming is almost never seen in the failin , such terms have become accepted as referring to characteristics of the image. Respectively, "camera distance" refers to the relative size of the filmed subject with respect to the frame; "camera angle" refers to the relative angle of the filmed subject with respect to the frame; and "camera movement" refers to the movement of the frame with respect to the photographed space. "Mise-en-scéne" I shall take as generally denoting the composition of the filmed material within the frame; this covers such possibilities as decor, lighting, and the deployment and behavior of figures and objects in space. Finally, again following critical practice, I shall use "optical devices" to denote various transformations of the image's surface Or speed: these include fade-ins and fade-outs, dissolves, wipes, Superimpositions, split-screen techniques, irises, masks, and slowand fast-motion. In sum, the categories