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 #:
000207
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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194 "subjectivize" the point-of-view even further. Such devices have been discussed above (pp. 41-48), and provide still more examples of the glance/object pattern. Both sediting to. build: up+spatial composition and glance/object editing are characteristic Impressionist methods of dealing with a homogeneous blockiwof vspace. Impressionist film style also has resources for dealing with the editing of two distinct spatial wholes. Typicalby called "parallel action" or “crosscutting,” ‘this alternation of shots of two or more actions in different spatial wholes is characteristic of Impressionism. La Roue contains several examples: Elie's violin premiere is crosscut with Sisif's being examined and |fipted for erspectacles; during a mountain storm, Sisif at the window is crosscut with lightning and hazy landscapes; Elie dangling from a rock is crosscut with Sisif's efforts to find and rescue him. La Brasier Ardent contains a long sequence of thematically significant parallel action, intercutting the wife and her husband with, respectively, the detective and his grandmother: while the husband comforts the wife, the grandmother bandages the detective's "toothache"; while the husband dozes in the foreground and the wife Sleeps on the sofa, the grandmother sits in the foreground while the detective paces in the rear. Such parallel