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

Page scan 000165 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 #:
000165
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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i52 which shows an event as seen through the eyes of a character witnessing the event ee. a shot of the highway seen from the point-of-view of the driver of a car). Although all three general kinds of subjective images appear in ImpresSionist films, the mental image, the optically subjective image, and the StotLona ane oa semi-subjective image are by far the most common; the perceptual semi-subjective image is quite rare. In the following examination of Impressionist film Style, Mitry's categories of subjective images will be applied. Camera Work Camera Distance. Impressionist films make use of a variety of camera distances, from extreme long-shots to extreme close-ups, but non-Impressionist films of the time draw on as wide a range of camera distances. Within this range, however, one can distinguish an outstanding utilization of one parameter of babiers distance: the close-up. Close-ups are prominent in Impressionist films for reasons that go beyond Simply magnifying a ohareetee ts expression for better visibility. Impressionist close-ups also frequently concentrate on parts of bodies and objects: hands, feet, clothing, hats, pipes, clocks, flowers, and other extremities and objects. As a result, these close-ups may embody in an