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

Page scan 000164 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 #:
000164
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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152 here proposed are traditional and object-oriented, thus permitting analysis of the small-scale relations among, parts of a given image. As I indicated above, Impressionist style "subjectivizes" the film image. Through specific kinds of camerawork, mise-en-scéne, and optical devices, the Impressionist film strives to add to whatever the filmed subject may express in iteelf by Suggesting thoughts and feelings through film technique aa well... But how may a. film image be said to be "subjective"? Jean Mitry has proposed an analysis of subjective images which will be useful for our purposes. 7 Mitry isolates several kinds of subjective images. First, there is the purely mental image (e.g., memory, dream, fantasy) which is not optically perceived by the character but which is in some sense an "inner vision." There is, secondly, the semi-subjective imgage, which provides a view of a non-mental event but which, by including the observing character in the frame, Suggests either A bhapuneas Mk perceptual viewpoint on the event (e.g., an over-the-shoulder shot of someone observing something) or a character's emotional attitude toward the event (e.g., in El Dorado the gauzy quality of Sibella's face as compared te the sharp focus upon the other dancers’ faces). Finally, there is the optically subjective image,