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 #:
000286
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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et. b. As subjective images. Some aforementioned examples fall under this category: the circular Signal in La Roue and the axe-murder in Menilmontant are presented as perceived by a parPcicipant; on L' Auberge Rouge, a fortuneteller's card predicting death is seen from the victim's point-of-view in huge ee ae The close-ups of the detective's book of memoirs in Le Brasier Ardent emphasize the significance they have for the frustrated wife. Camera angle: use of high-, low-, and mediumangles to indicate optical Subjectivity. For example, a somewhat tilted low-angle is used to suggest an old woman's askew perspective on St. Antony in Les Aventures de Robert Macaire. In Six et Demi-Onze, a low-angle shot of tall trees is justified as the point-of-view of a young man looking up. A hospital nurse is seen in a low-angle shot, as if through the eyes of the patient in bed in La Belle Nivernaise. Conversely, in Don Juan et Faust, Dona Anna's view down a well is naturally shown in a high-angle. High-angle close-ups of boots and pistols in L'Auberge Rouge