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

Page scan 000304 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 #:
000304
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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291 convey the shock and confusion it causes in the mind of the witness, Sisif. In Coeur Fidéle, the astonishment of being struck by a truck is Shown as a subjective shot of the truck from the victim's optical viewpoint followed by a threeframe flash of an upside-down negative image. More clearly, the accelerating cutting pace of two scenes in L'Auberge Rouge indicates the buildup of psychological excitement in a character. At one point, a man is about to have his fortune told by an old woman. After a close-up of the prota gonist's anxious expression, this sequence follows: 1. (ms) Old woman shuffling cards AAS SOR 2. (1s) 01d man on stool starts to play a ah al accordion. 3. (ms) Accordion playing. De. eae 4. (cu) Hands shuffling cards. eae se 5. (ms) Accordion playing. ee Be 2! gr 6. (cu) Cards being shuffled. Pe oe os 7. (ms) Accordion playing. a 38 oa 8. (cu) Cards being shuffled. te 9 a The exactly matched rhythm of the accordion and the card-shuffling, combined with the progression toward shorter shots: shots. 3 and 4 are almost half as long as 1) and’ 2: 5 ard’ 6 are half as long as. 3 and 4;-7 and 8 are half as long as 5 and 6. This rhythm indicates the tension in the man about to hear his future told. In L'Argent, when