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 #:
000225
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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looked at are almost invariably in the same frame. Rea tf however, makes extensive use of the glance/object editing pattern: the characters in the film are introduced via a Stagehand's peeping through the curtain; two women watch Kean with fascination; Kean's drunken spree: ‘and “hid: ‘final performance are also treated in the glance/object fashion. The salient differences emerce clearly in theft i lime: handling of two similar situations. In Nana, the protaBond st. is) ,3) be eund deliriously dreams of ghosts: her dreams are indicated simply by fading in and out of images of Che ghoat saci nh Kean, the protagonist is drunk and imagines himself spurned by his female admirers: dissolves link the female admirers' refusal of his bouquet; then multiple out-of-focus shots of laughing faces are superimposed; as Kean runs away, we get his point-of-view of the house of the woman he loves, on which is Superimposed a woman's laughing face. The elaborate optical transformations of Kean (especially the multiple superimpositions) are more strongly characteristic of Impressionism than the simpler fade-ins and -outs of Nana. More sharply defined, however, is the difference in the two films' handling of another situation: the protagonist's drunken dance. In Nana, the heroine becomes drunk at a ball and performs a frenzied cancan; the increasing rhythm of the scene is created