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 #:
000285
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.

ene close-ups of smiling or frowning lips, pursuing feet, gesturing or pounding hands, pointing pistols, and. so; on, Furthermore, in La Roue, close-ups present the train wheels and the circular railway signals as symbols of the wheel of fate to which the film's characters are lashed. In La Belle Nivernaise, after a boy has been adopted by a barge captain, ten years pass; a close-up of a pair of young hands and a pair of old ones tugging on the ee rope Symbolize the two men's intimacy and cooperation. In Coeur Fid&le, the close-up of the scrawled Slogan "Toujours Fidéle" on a wall passes obvious comment on the lovers’ affair. The close-up of the Napoleon bust on Saccard's desk in L'iArgent suggests his domineering ambition. In L'Inhumaine, the young inventor's attempt to bring the singer back to life by machine is given significance by the many closeups of his apparatus, Suggesting the force of modern technology as a whole. In RoseFrance, the repeated close-ups of the hero's hand clasping a rose reinforce the title's allegorical significance.