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

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287 Symphonie, as the daughter begins to tell her parents of her ives. the next shot shows her with him in a carriage earlier in the day. In L'Inhumaine and Six et Demi-Onze, a past car crash is presented by inter-cutting the recollections of the witness with the witness telling the story. In L'Inondation, a character confesses to murder, and the scene shifts to and fro between flashbacks of the arias and the murder trial. When the barge captain in La Belle Nivernaise explains to his wife how he found the orphan boy, the editing briefly replays scenes previously shown. Fantasy. In L'Inondation, the heroine wonders if her lover will spurn her and a shot follows which pictorializes the situation; later when she considers leaving the village, another "hypothetical" shot shows her leaving. In J'Accuse, a woman sees war as a danse macabre: a shot of her is followed by a shot of skeletons dancing ina circle. Later inthe same film, Jean and Francois in the trenches discuss the possibilities of what Frangois' wife might be doing, and there follow interpolated shots visually indicating the various possibilities. In