Start Over

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

Page scan 000284 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 #:
000284
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.

The following is an outline of the findings of Chapter IV, supplemented by further evidence from the films examined. I. Characteristics of the Image. A. Camerawork 1. Camera distance: use of close-ups. a. AS synecdoches and symbols. Many Impressionist films utilize close-ups as Synecdoches and symbolic images. [In Fiévre, the fraternization of sailors and prostitutes in a bar is indicated by closeups of feet, watching monkeys, opened knapSacks, and exotic trinkets held up for examination. Close-ups of musical instru ments during dance scenes are also frequent (cf. L'Inhumaine, L'Inondation, Six et Demi Onze). The opening of Menilmontant compresses an axe-murder into a series of brutal close-ups: of the weapon and the faces of victim and murderer. The extreme application of such synecdochic close-ups comes in Autant-Lara's Fait Divers, in which many episodes of a love triangle are ren dered entirely in