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

Page scan 000224 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 #:
000224
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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Fag aS some commentators have noted, is remarkably lacking in closerups:s, ithe «fdilm chiefly uses longand medium-shots of various spatial groupings to indicate dramatic importance. Several sequences in Kean utilize optically subjective angles and close-ups, whereas although Nana is full of characters spying on each other, el are only two optically subjective shots in the film (neither from the protagonist's viewpoint). Both films contain many movingcamera shots, both with a moving subject and independent of a moving Subject, but only Kean utilizes optically Subjective moving-camera shots. Similarly, both films utilize single-light-source and shadow-lighting as a natural extension of their predominantly theatrical locales. But Nana uses optical devices Very: fared yuvand usualagy not Subjectively. Kean, on the other hand, is full of elaborate: optical effects, almost always to indicate memory, fantasy, or optically distorted vision (e.g., the various scenes from Romeo and Juliet, several Superimpositions in the park scenes, Split-screen effects when Kean goes riding, Sauzy-focus and Changing-focus shots when Kean collapses), and rotating prismatic Shots of the angry crowd). The editing of Nana is chiefly analytical: cutting is into and out of a block of Space, with only two instances of glance/ object editing; in this film, the looker and the object