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 #:
000171
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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Camera Movement. A third characteristic of many Impressionist films is the use of the mobile framing that. proceeds from the movement of the camera. While many typologies of camera movement in general have been proposed, the following synthesis is adequate for purposes of this stuay & There is camera movement which follows a moving object or person (e.g., a tracking shot with a man walking), and there is camera movement which functions independently of any subject movement (@.g., a pan, around a room). Other possibilities include camera movement that is not defined as representing a character's optical point-of view and camera movement that is to be taken as representing a character's optical point-of-view. Impressionist film Style sometimes utilizes all these possibilities. Camera movement in Impressionist films is most frequently used to keep moving persons in the frame; twenty-three Impressionist films so use it. On the whole, however, moving-camera shots following moving objects are fairly common in non-Impressionist narrative films (see Poil de Carotte, Nana, and Un Chapeau de Paille d'Italie) and abstract films (see Ballet Mécanique and Disque 927). Such camera movement is thus not particularly definitive of Impressionism. Much more characteristic is camera movement inde pendent of subject movement, which occurs in fourteen