Start Over

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

Page scan 000292 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 #:
000292
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.

279 AS conveyors of abstract meanings. A "conceptual" use of optical devices is frequent in Impressionist Style. In La Dixiéme Symphonie, the composer's image is Superimposed on a Beethoven death-mask, while his wife's image is Superimposed on the statue "Winged Victory," ta Le Diable dans ia Ville, the hero Mare is superimposed on the Tarot. card of the Knight; later in the film, following the tithe, "La Peur planait sur la petite ville hallucinée," huge superimposed claws clasp at the village Streets. In Carnival des Vérités, Madame Gentia is characterized by a superimposition of curling Snakes; later in the film, the seductive mystery of the villa is symbolized in a shot of the guests dancing and a Superimposed close-up of a woman in a black domino mask. In L'Homme du Large, a nun is framed in an iris shaped like a cathedral's rose window. In L'Argent, a Shot of the chairman of the board dissolves to a similar shot of the man "behind" the board. In La Belle Nivernaise, when Victor and Clara reunite in the hospital, there is a fade-out to the symbolic picture of them playing as children. Finally, at the close of J'Accuse, t