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 #:
000221
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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208 Conclusions: The Paradigm Applied The foregoing paradigm has described, through analysis of textural features of individual films, the categories of Impressionist film style. In the period in which the films were made, both contextual stipulation and repetition from film to film set up what emerge now as certain stylistic conventions: decorative and subjective camerawork; rhythmic and glance/object editing patterns; and optical devices indicating optical and psychological subjectivity. Taken as a whole, these conventions may be seen as a Paigd aeu ih as oe cluster that distinguishes Impressionist films from contemporary films in other styless-i.e., abstract films .on one hand and nonImpressionist narrative films on the other. While the family-resemblance paradigm, by its logical nature, cannot specify necessary and sufficient conditions for membership in the class of Impressionist films, itican outline a Cluster of textural features which identify the film.as likely or not likely to belong to the style. The abstract of the style paradigm in Appendix B may be consulted for a compressed outline; what follows are concrete applications of the paradigm. First I shall distinguish an Impresginnt ae film from an abstract film, and then distinguish an Impressionist film from a non-Impressionist narrative