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

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 #:
000168
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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155 Style: in all, twenty-two out of thirty-five Impressionist films utilize close-ups in these general fashions, as compared to only two of the fifteen non-Impressionist films examined. Camera Angle. As with camera distance, Impressionist film Style makes use of a range of camera angles which includes extreme high-angle shots (i.e., looking down from a height), extreme low-angle shots (i.e., looking up from a deep position), and tilted angles (i.e., viewing the sth pece from a tilted rather than a horizontal axis). Sometimes such extreme-angled shots are relatively autonomous and do not function subjectively in any of the senses which Mitry's categories imply. They are, in Mitry's terms, "descriptive subjectivism," or the point of view of the film-maker. But more often camera angles in Impressionist films are subjective in Mitry's third sense: used ina characteristic editing pattern (to be examined below), such shots indicate optically subjective point-of-view. Low-angle shots, then, are typically used to present the point-of-view of a character who is spavially lower than Che events he or she views. In Le Diable dans la Ville, for instance, the viewpoint of a man on the ground is rendered as a low-angle image of faces looking down at Hime: Simi leoty oi in Visages d'Enfants, a boy's view oF his