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

Page scan 000174 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 #:
000174
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.

161 the context defines such shots as representing an event as seen through the eyes of a witness. Perhaps the most common use of this technique is that of the "drivepr'ts viewpoint": the road is seen through the driver's eyes in La Glace a Trois Faces, L'Inhumaine, oly et Demi-Onze, whereas in La Roue the railway is seen from the engineer's viewpoint. But other uses of such "subjective" movingcamera shots are plentiful. For example, in La Petite Marchande d'Allumettes, when the boy and the girl are riding the magical horse through the sky, they turn to see Death galloping after them; a bobbing-camera shot simulates their Viewpoint on Death's PUrBUIE. Similariy, in Les Aventures de Robert Macaire, after a shot of Macaire standing atop a hill there comes a subjective panning shot around the horizon. La Glace a Trois Faces contains several subjective tracking shots toward a boat dock from the viewpoint of the approaching couple. More HOGG ir L' Auberge Rouge, aS an innkeeper surveys his tavern with an expansive wave of his arm, the camera indicates his point-of-view by rotating to keep the arm framed in screen rignt. | Norne.of the. non-Impressionist films examined utilizes this technique of subjective moving-camera Shots, so although it occurs in only about one-third of the Impressionist films ex amined, it is highly characteristic of Impressionist