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

Page scan 000170 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 #:
000170
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.

clearly from other French narrative films of the time. The non-Impressionist narrative films examined in this study rarely use highor low-angles or utilize them subjectively. A good contrast is Renoir's Nana which, though containing a motif of spying, almost never provides shots from the Spy's point-of-view; for example, Bordenave's spying on Nana and her gentleman is presented in a long-shot which includes all three characters in frame; the typical Impressionist strategy would have been to include a subjective view through the peephole. Again, in Antoine's Le Coupable there is only one shot which is comparable to the Subjective-angle shots which are frequent in Impressionist works. Specifically, twenty-three Impressionist films examined contain high-, low-, or tilted angles, and in nineteen of them such angles at least once represent subTRS Wo tat of view. Non-Impressionist abstract films all utilize high, low, and/or tilted angles on their subjects, but never indicate subjective point-of-view. Only two non-Impressionist narrative films utilize such angles, and invariably ‘to indicate optical subjectivity. . In general, then, both the variety of camera angles’ and their representation of subjective point-of-view constitute a recurrent textural feature of Impressionist films.