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French Impressionist Cinema: Film Culture, Film Theory, and Film Style (December 1974)

Page scan 000203 from French Impressionist Cinema: Film Culture, Film Theory, and Film Style

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 #:
000203
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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190 patterns, this pattern carries subjectivity to the level of inter-shot relations, again making subjectivity a textural quality not only of simultaneous parts (e.g., camera Style, mise-en-scéne, optical devices) but also of succesSive> parts,! In shore 0 thie pactern) wALeh 1’ shall’ eal] glance/object editing, is a major trait of Impressionist film style. Instances of glance/object editing run from the very simple to the quite complex. Most basically, this-edit-~ ing pattern permits inanimate objects to be integrated into the drama: the act of looking endows objects with dramatic significance. In L'Auberge Rouge, the’ roaming eye of the sheriff looks down to our left, and there: follow two short shots of a man's muddy boot and pistols on a nearby bench before another cut brings back the shot of the watchIng? shergrt oh insEd Dorado, we see Sybella's eyes in closeup, then a close-up of candles from her point-of-view, then another close-up of her eyes. In La Roue, the departure of Sisif's train is given in alternating glance/ object shots from his viewpoint. L'Inondation goes somewhat further and supplies a continuous play ofsglances' in a close-up, the heroine looks off to the right; there follows a viewpoint shot of a broom and stool, she looks to the left, and there follows a viewpoint shot of the fire.