Start Over

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

Page scan 000166 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 #:
000166
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.

153 object or a gesture a dramatic, thematic, or abstractly conceptual meaning. To take a clear example: in L'Homme du Large, the father is identified with the pipe he frequently smokes, so that the entry of the pipe in close up is sufficient, by synecdoche, to indicate his presence. Similarly, a single shot of two hands clinking glasses in a bar in La Belle Nivernaise suffices to inform us that a bargain has been stuck over a drink. A mone wala treat Ly conceptual scene occurs in J'Accuse, wherein the diag ture of a village's men for war is shown entirely in ecloseups of hands--packing bags, drinking farewell drinks, clasping, and praying, thereby suggesting a general human response to war. The function of such symbolic close-ups is often strengthened by their being set in a context which makes them subjective images. Some are purely mental images: in Le Diable dans la Ville, a flashback is shown wholly in close-ups of a shattered statue and a smashed window; a lover's recollection of his or her loved one is suggested by close-ups of the loved one (Six et Demi-Onze, L'Inhumaine, ita Belle Nivernaise, La Femme de Nulle Part, and others); the inserted close-up of a delicately-built house of cards in La Dixiéme Symphonie symbolizes, via a fantasy-image, the precariousness the composer feels in his life. Other