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 #:
000193
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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180 of what may be inside a house; a man's imagination eliminates his friend from his side and substitutes the woman in whom he's interested; a woman trying to decide between two men is presented in the center pahel: ofa’ triple iris: and a man smoking meditatively "sees" himself and the woman whom he desires in the rising smoke. Using such optical devices to indicate purely mental images is not unique to Impressionist films, but certain contexts in which the devices occur aréesdist inguishable. In the main, Impressionist films contain Surprisingly few dream-images per se; only in Le Brasier Afdent, Les Aventures de Robert Macaire, and Voyage imaginaire are there images which indicate what a sleeping character is imagining. On the other hand, when nonImpressionist narrative films use optical devices to indicate mental images, it is almost always in the context Ofvatddreanm. thin Crainquebille, the old peddler dreams that he 1s sentenced and jailed; in Poil de Carotte, the boy dreams of his mother punishing him; in L'Atlantide, the delirious soldier's dream provides subjective images; in Nana, the iene actress is haunted by delirious imaginings. This is not always the case: Nana, for instance, also contains some waking fantasy-images’. But on the whole, non-Impressionist films reserve mental-images for the