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 #:
000302
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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289 Crosscutting. In La Dixiéme Symphonie, shots of the composer and his wife at the window are alternated with shots of the couple outside. At the beginning of Fiévre, the life at the dingy bar is crosscut with the ships and the return of the sailors. In La Chute de la Maison Usher, the departure of the cart driver is crosscut with Usher's receiving of his guest. One scene in El Dorado alternates shots of Sibella reading a letter backstage with large close-ups of stamping feet and clapping hands as the crowd demands that she begin her act. In La Petite Marchande d'Allumettes, the circularly marching soldiers are compared’, by crosscutting, to the simultaneously spinning carousel. In Feu Mathias Pascal, while Mino and his fiancée's mother are whirling on a carousel, Pascal and the fiancée are sitting on a bench in the forest. Finally, crosscutting for humorous comparative purposes is used in La Belle Nivernaise, when Victor and Clara each prepare for their date: head-on shots of Victor before a mirror tying his tie alternate with head-on views of Clara before a mirror putting on her hat.