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

Page scan 000293 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 #:
000293
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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280 a horizontal split-screen metaphorically compares the ghostly soldiers to troops march ing off to war. As indications of objectivity. a. Purely mental images (memory, fantasy). Examples abound of this characteristic technique. In Sixet Demi-Onze, the youth's memory of a day with his beloved woman is indicated by Superimposed images of the camera which he used that day. In one scene in La Roue, Elie can't escape the memory of Norma, whose image appears everywhere in Superimposition. L'Inhumaine and L'Homme du Large both utilize gauze-focus to indicate a character's memory image. In El Dorado, the millionaire's memory of his love affair is given optically distorted shots whereas in Feu Mathias Pascal fade-ins and -outs are used for the same purpose. In Les Aventures de Robert Macaire, an old woman's memory of brigands is indicated by a white iris around her flashback. Superimpositions used to illustrate a character's "seeing" an absent person are likewise common in L'Inondation, ee eee a