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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 #:
000199
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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(often only a single shot) that temporarily break the chronological sequence of the previous shots. Invariably, such flashbacks are presented as a character's memories. In La Femme de Nulle Part, a shot of the woman in the present recalling her youthful love affair is followed by a shot of her and her lover in the past. In Le Brasier Ardent, when the wife first meets the detective, a series of quick Shots of him in various disguises represents her memory of him in various roles in her dreams. Most extreme are the very short flashbacks in la Glace a eee Faces that accompany the story a woman tells about her fickle lover. Atemporal relations expressing fantasy obviously partake of the same subjective emphasis as the flashback and occur with about equal frequency (in ten films). Again, the editing pattern is to cut from a shot of a character to a shot expressing his or her imaginary visions. Kor example, in. J *Aecuse @ shot of jJean grieving over his mother's death is followed by a shot of a phantom woman in black crossing the landscape of one of Jean's paintings. In Le Brasier Ardent, the jealous husband, musing on his flirtatious wife imagines suitors diving to rescue the woman's fallen fan. Still more abstract is the cut from the anxious composer in La Dixiéme Symphonie to a shot of hands against a neutral background setting up a house of