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

Page scan 000175 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 #:
000175
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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162 film style. To summarize: apart from the use of camera technique as an expository, revelatory, or purely pictorial device, the overriding purpose of much Impressionist camerawork is subjectivity. Close-ups, besides their uses for symbolic and synecdochiec purposes, are often used to represent a character's optical point-of-view. Similarly, high, low, and tilted angles and the movement of the camera often indicate a character's optical vantage point. The emphasis which Impressionist theory places on the transforming powers of the camera thus permeates the style of Impressionist film, confirming Germaine Dulac's claim that: L'Avant-garde a été la recherche et la manifestation abstraites de la pensée et de la technique pures appliquées depuis 4 des films plus clairement humains. Elle a posé, non seulement les bases de la dramaturgie de l'écran, mais a recherché et propagé toutes les possibilités a: GxDE She acne enfermées dans l'tobjectif d'une caméra.10 The Impressionists' figurative and psychologically expres Sive camerawork thus intersects with Impressionist film theory's conception of photogenie's transformation of nature. Mise-en-Scéne Impressionist film style is also characterized by recurrent textural features that consist of. relations