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

Page scan 000169 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 #:
000169
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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156 stepmother's brooch is shown in a low-angle close-up. Correspondingly, high-angle shots are typically’ used 'to present the viewpoint of a character looking down. For example, in La Roue, high-angle close-ups of a glass and a pipe suggest Sisif's vantage point on them. In Fiévre, a husband's view of his wife, who is sitting on the floor, is given in a high-angle shot. Even level, middle-angle Shots are frequently shown to be subjective. For example, in L'Inhumaine, La Glace 4 Trois Faces, and Six et" Dewmi+ Onze, the views of the road are shown from the driver's seat. Common also are head-on medium shots of one character addressing another, as if presenting the addressee's point-of-view; this technique recurs in Coeur Fidéle, L'Auberge Rouge, L'Argent, Le Diable dans la Ville, La Belle Nivernaise, Robert Macaire, and Feu Mathias Pascal. Finally, occasionally an Impressionist film will contain a shot taken at eye-level angle of a subject through a window, standing for a character's view through the window; this visual motif becomes through repetition a major dramatic element in La Roue, Coeur Fidéle, La Petite Marchande d'Allumettes, and Feu Mathias Pascal. The use of camera angle to indicate optical subjectivity is thus a dominant feature of Impressionist film style. In this respect, Impressionist films difrer