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

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286 of a nun looking down at the camera before going out-of-focus. [In Kean, when the protagonist collapses on the Stage, his blurred vision of the angry audience is shown in distorted, out-of-focus rotating shots. In Coeur Fidéle, the drunken bully sees the woman's face as distorted and elongated, as the drunken flirtatious woman been the man whom she watches. In L'Inhumaine, Einar's feeling faint makes him see the jazz band out of focus, as Usher's distraught state makes him see his sister's coffin as gauzily blurred. The wounded boy in Finis pee deliriously sees his arm out-of-focus. II. Characteristic Editing Patterns. A. Temporal relations between shots. ie Flashbacks. In LtAuberge Rouge, when the thief discovers the dead man's body, a shot of the thief's shocked reaction is followed by a shot of the fortuneteller's card that had, the night before, warned of crime. In La Roue, Sisif's telling Hersan of his love for Norma cuts back to an earlier shot of Norma's legs in the Swing. In La Dixiéme