Start Over

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

Page scan 000229 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 #:
000229
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
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

216 character's attention. Rhythmic editing indicates the pace of an experience as a character undergoes it. Thus, specific uses of film techniques bend the external world to the purpose of expressing feeling. As Germaine Dulae writes: L'impressionisme fit envisager la nature, les objets comme des @6léments concourant 4 l'action. . . .On sine génia 4 faire mouvoir les choses; .et, la science optique intervenant, 4 essayer de transformer leurs lignes suivant la logique d'un état d'esprit. In this way, the cinema can achieve the end envisaged by Impressionist theory: the artist uses a mechanical means of reproduction to wehieve that transformation of nature by feeling which is photogénie. The purpose of this chapter has been to consider the stylistic features characteristic of the fis oF the Impressionist movement. The affinities with the cultural activities discussed in Chapter II and the theoretical assumptions considered in Chapter III now need to be made explicit; furthermore, the essentially static accounts of Chapter III and this chapter need to be integrated into a temporal framework. Thus the task of the final chapter is a historical account of the Impressionist movement by period.