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

Page scan 000187 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 #:
000187
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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174 1. (ms) Young man, looking. 2. (ma) Woman from the side. Dissolve to: 3. (cu) Her. face, 3/4 view. Dissolve’ to: 4. (cu) Her bosom and arm. Dissolve to: 5. (ms) Her back. Dissolve to: 6. (cu) Her face, 3/4 view. With exceptions such as these noted, however, the transitional functions of such optical effects remain standard throughout both Impressionist and non-Impressionist films. Similarly, the use of optical effects to indicate magical occurrences and to emphasize dramatic points is Striking but not idiosyncratic. The march of the dead soldiers in J'Accuse is shown to be supernatural by being filmed as a superimposition. The magical power of the storm in La Chute de la Maison Usher is indicated by slowmotion shots of books tumbling out of cupboards. As one would expect, fairy tales and fantasy films make extensive use of these devices: in Voyage Imaginaire, the clerks transforming the witches into beautiful women by a kiss is shown by changes of focus; the fantasy Charleston contains scenes of animation, pixillation, and negative shots revealing the film's fantastic bent; and la Petite Marchande d'Allumettes includes animated cutouts, superimpositions, pixillated marching soldiers, and stop-motion filming of roses springing to life on a tree.