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

Page scan 000288 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 #:
000288
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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Aa eee Tracking Shot down Paris street, panning right. ya i Tracking Shot down another street, panning left. 3. (1s) Tracking shot down narrow street, quickly panning left. ae Tracking shot past building, panning left. (ls) Tracking shot down street, panning PLEKT .. (ls) Tracking shot through park, panning rignt . (ls) Tracking shot down street. (1s) Tracking Shot through intersection. SS | ONUT The sense of vertiginous speed in this sequence is wha not only to the speeded-up action within each shot and the brevity of the shots (the longest is less than three seconds and the Shortest is less than a second) but also to the camera movements, especially within the first Six shots. Each of the first six shots is both a tracking shot (the camera as a whole is moving) and a panning shot (the lens is swiveled right or left). The stylistic result is a dizzying combination of right, left, and forward movements that blur the filmed material to increase the impression of speed. Movement representing a character's point-or= view. Aside from the examples cited in the text of Chapter IV, these examples are illuminating.