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 #:
000200
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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187 cards--subjectivity at another remove, by means of the film-maker's metaphor for a character's feelings. Although editing that stresses flashbacks and fantasy is quite typical of Impressionist style, neither is distinctive: several non-Impressionist narrative films examined utilize either type of temporal relations (especlally flashbacks in L'Atlantide and fantasy in Nana). Nonetheless, such editing patterns contribute toward making Impressionist temporal editing "subjective" in Mitry's first sense--i.e., expressing purely mental images. Spatial Relations Between Shots A sequence of shots may deal with one homogeneous block of space or several heterogenous blocks of space. As Burch points out, the standard cinematic practice in the first case is to show the entire block of space in one shot and then to allow successive shots to break up the space into significant details. This is the dominant procedure in Impressionist film style as well. Occasionally, however, the spatial whole will not be decomposed by the succession of shots but rather composed, built up, by them. This means that several shots of spatial parts will indicate a spatial whole instead of that Spatial whole being indicated in one shot. For example,