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 #:
000228
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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Pa Ni of view on the same object that is characteristic of EisenStein's and Pudovkin's Styles. This is. not to say that the Impressionist style was without influence, since European film-makers in the 1920's borrowed extensively from each other. Traces of the experiments of the Impressionists may be found in Uberfall, Die Strasse, Secrets of a Soul, and other German films of the time; the debt of EisenStein and other Russians will be discussed more specifically in the next chapter. In their main outlines, however, the Impressionist, Expressionist, and Soviet movements are clearly distinguishable on stylistic grounds. In sum, Impressionist film Style enriches the narrative by increasing the film-maker's commentative role a) ge more often, our awaveneen of the character's inner states. Reveries, fantasies, memories--such purely mental imagery is expressed through techniques such as dissolves, superimpositions, fade-ins and “outs, selective focus, and slowmotion. Shifting moods are indicated by such semi-subjective techniques as gauzing over a shot of a character. Subjective point-of-view shots present a character's optical vantage point on events, and if necessary such Shots distort that point-of-view to indicate extreme States like drunkenness, blindness, or terror. Similarly, glance/object editing presents the patterned flow of a