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

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 #:
000301
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.

288 Six et Demi-Onze, as Jean repairs a flat tire he ~ imagines another man courting his wife, and the imaginary courtship and the real repair work are intercut. In L'Inhumaine, two men try to persuade Claire to join them in their lives, and there follow fantasy-inserts of her as a political activist or as a Turkish princess. B. Spatial relations between shots. sop Occasionally synthetic, building up space from specific! detaiis, Glance/object editing (optically subjective). In addition to the examples cited in Chapter IV, four further instances are interesting. In Le Diable dans la Ville, a shot of Mare looking is followed by a close-up of the statue's hands from his viewpoint and then by a shot of him turning away. In La Glace 4 Trois Faces, the editing gives us the point-of-view of a man going up in an elevator by alternating shots of his face and shots from his optical viewpoint. In La Femme de Nulle Part, a departing man looks out to the harbor and there follows a shot of the ship he is about to take. after Victor leaves in La Belle Nivernaise, Clara's glance falls to one side and there follows a close-up of Victor's crumpled striped shirt. e