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 #:
000197
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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184 we should note, are congruent with the desire of ImpresSionist film theory to indicate the creative artist's expressive transformation of nature. Finally, optical devices may indicate subjective states via purely mental images, semi-subjective images, or optically subjective images. Thus Impressionist optical techniques also represent dreams or fantasies, interpret a character's mood, or indicate physiological states like blindness, drunkenness, or delirium. As L'Herbier writes amusingly in the program of the premiere of his Rose France: Ur" cache * "est yamate fart pour cacher quelque chose; par son rythme, son dessein, son ombre, il est tout le cachet d'une psychologie....Pour deux fiancés qui s'étreignent dans un paysage, plus leurs baisers sont fous, plus le décor est flou... Editing The previous sections have described certain typical textural features of the individual image in Impressionist film style. This section will describe some Cypical textural features of the relations among images in ImpresSlonist Clin. sty ter eye.’ editing patterns. The typology I propose to use is a modification of that advanced by Noel Burch. 12 Putting aside purely graphic relations, editing relations between one shot and another rest upon two parameters: the content of the shots (temporal relations