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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 #:
000186
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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tend to be characteristic of Impressionist style. There are three fairly stendard functions of such optical effects: marking transitions, denoting magical effects, and emphasizing dramatically significant aspects of scenes. All of these functions are notably present in Impressionist films. Irises, dissolves, wipes, and fadeins and -outs are standard transitions in many TImpressionist films, usually marking ends and beginnings of scenes. L'Homme du Large use highly decorative wipes and masks to move from one sequence to another; several films demarcate sequences by dissolves. Time is sometimes abridged by means of dissolves and changes in focus: in one scene in La Glace 4 Trois Faces, there is a dissolve from a pen Starting to write a letter to the finished letter; in Feu Mathias Pascal, an entire courtship and marriage is compressed into four shots linked by transitional dissolves. Often a dissolve or superimposition will take the place of a cut within a scene, providing a Weol Cer” Cranes 1. Lon: the dissolve from a long-shot to a medium-shot to a closer Shot of a character in La Roue recurs in Coeur Fidele, Six et Demi-Onze, L'Inhumaine, Mauprat, Les Aventures ° | Robert Macaire, and other films. This can offer a strikingly sensuous quality; cuts would not so emphasize