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 #:
000201
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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188 in La Femme de Nulle Part, when the old woman on the house steps watches the young lovers in the garden, the spatial whole is never given to us in one frame; instead, separate shots of the watcher and the watched build up a sense of spatial homogeneity. Similarly, in Six et Demi-Onze, the lovers are not seen in the same frame as. the trees they watch; rather, the cutting is back and forth from the couple on the grass to the treetops. Considerably more elliptical is the occasional pattern of beginning a scene on an extreme detail and delaying the revelation of the entire space. One scene in Six et Demi-Onze begins with a head-on close-up of a man, followed by a mediumshot of an old woman clasping her hands worriedly and then a close-up of glasses and a plate sitting untouched; only then does there come a long-shot of the man sitting at the table refusing to eat while the old woman and a butler look on. More extreme is the fragmented buildup in the very opening. of Coeur Fidele: (cu) Woman's hand wiping bar clean. (cu) Woman's eyes watching. (cu) Bottles and goldfish bowl on shelf. (cu) Woman's face. (ms ) (1s) Woman pouring a drink. Woman pouring at bar. OVO] FW PS Again, the homogeneous space of the shot has been construct ed out of significant details that will prove important in