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

Page scan 000294 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 #:
000294
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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281 Optical devices indicating fantasy are even: more plentiful than those indicating memory. In Six et Demi-Onze, the hero imagines his lover's face, enlarged, superimposed on his own face. In L'Inhumaine, Claire says that only "quelque chose" can keep her in France, and both she and her suiter "see" the word "quelque chose" superimposed upon the surrounding decor. In L'Auberge Rouge, the fortuneteller's head fades to a skull's head, emphasizing her hearer's response to her grim prediction. In Coeur Fidélé, the dissolves to closer views of the boy musing by the water are linked to the girl musing in the bar; later, when the boy imagines her coming, the next images of her are distorted and elongated. In Kean, when the hero imagines himself spurned, there are dissolves to various women refusing flowers and superimpositions of out-of-focus laughing faces. In Fait Divers, M. One's strangling of M. Two is indicated as being imaginary by slowmotion technique. In Feu Mathias Pascal, the protagonist's recurring daydreams are