ABSTRACT
Impressionism was a kind of pivotal aesthetic for which the intensification of realisms prospects meant also a hedge against realisms vulnerability. In Modernist Futures, David James study of the legacies of modernism in contemporary fiction, he argues that recent fiction has more fully realized the promise of historical impressionism by engaging more fully with the ethical implications of impressionist judgment. Impressionist immediacy the possibility of direct experience through the work of art; the true presentation for the viewer of what was is to be viewed could seem more fully obtainable by filmic indexicality. Film could be seen to have a special claim on impressionism because it could better achieve the aesthetic reality that only could only be suggested by other media modes. Adorno suggested that film technology could prevent the development of technique in the aesthetic sense, and even if this was an excessively negative view, it might apply to films appropriation of impressionist verisimilitude.
