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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 #:
000192
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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L79 is then superimposed on the couple again... A. final shot: of the smoke dissolves back to the map in the geography book and Victor's reaction. Boat, river, sky, smoke, and his love for Clara are unified in his memory, and this unity 1s suggested by the careful use of dissolves and superimpositions. Much more common, however, is the use of optical devices to indicate a character's fantasy or daydream. Ty PCA Lye eine ent ie image constitutes an imaginary vision. herself: (via a.dissolve) as. one of. the. lovers. In Mauprat, the hero's fantasy of the woman is indicated by a superimposition of her face over the castle. La Roue contains several optically-indicated fantasy images: when Norma imagines Hersan's riches, images of wealth fade in and Surround him in the shot; after Norma is gone, her name materializes between the distraught Sisif and Blie. revunn« ing from the wedding, Sisif imagines Norma's face super| imposed in the smoke of the locomotive; the mad switchman Shouts at the fatal train signal and in a subjective iris-shot he imagines its having a grinning face. More comically, in Voyage Imaginaire, a young woman visualizes her lover's face attached to a dog's body. Carnival des Vérités contains several scenes of such fantasizing: a Superimposed image of a corpse expresses a woman's fear