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 #:
000227
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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O14 The above paradigm also permits us to digtineyes between the French Impressionist Style and avant-garde Stylistic movements in other countries. In constructing a Similar outline for German Expressionist cinema of the £920 as) “Por example, we would observe much less use of the subjective possibilities of camerawork, optical devices, and editing and much greater use of mise-en-scéne as a vehicle ‘of psychological expression. Subjective superimpositions and rhythmic editing are rare in Expressionist cinema, but as many historians have noted, Expressionist mise-en-scéne is graphically and Plastically distorted as a projection of neurotic inner states. Similarly, the Soviet montage school of the 1920's has little recourse to subjective camera work or optical devices and stresses editing’ as! its primary technique. But Eisenstein, Pudovkin, Vertov, and Kuleshov go beyond the glance/object pattern and rhythmic Subjective editing of Impressionism to explore the metaphorical and rhetorical possibilities of shot juxtaposition. There is nothing in Impressionist cinema to compare with the intercut bi /Woeere Slaughter in Strike, the battlefront/stock exchange sequence in ind of St. Petersburg, or the "degradation of the gods" sequence in October. More specifically, we find no Impressionist film giving us the rapid intercutting of different angles