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

Page scan 000183 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 #:
000183
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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170 domestic settings, Parisian landscapes, and provincial countryside. If any style of decor, then can be said to predominate in Impressionism, it is that of "naturalism" in settings. Natural settings, however, are also prominent in all but one (Nana) of the non-Impressionist films examined, thus making such "natural" decors relatively weak defining qualities of Impressionist style as a whole. one other typical" (though ‘not “definitive) trait“ of decor in Impressionist film style is a recurrent interest in’ strong abstract patterns. In L'Inhumaine, for example, one shot is a bird's-eye view of acrobats performing upon a strong pattern of squarish zigzags on the floor.: The vague flowery patterns in the courtyard of Bi) OOrado, the zebra-striped decor in the restaurant of L'Argent, the geometrical cross-hatching walls of the gazebo of La Glace a Trois Faces, the densely checked net-like windows in La Petite Marchande d'Allumettes all testify to a con cern with using abstract patterns as compositional devices. Occasionally, these patterns will be echoed in costume as: We Ld: Htenhistooneles’ Cape repeats the whorls or) Faust 's chamber in Don Juan et Faust, while the lovers in La Belle Nivernaise wear striped clothes that "rhyme" with the window slats in the ship's galley. The same use of abstract pattern can be seen in the occasional use of doorways