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 #:
0004
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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ABSTRACT Between 1918 and 1928, an avant-garde movement in French film emerged and flourished. Generally called "French Impressionism," the movement created an indigenous film culture, a theory of cinema, and a distinct film style. The thesis describes the nature and development of the movement by means of an historical examination of 1ts' cultural activities, an analytical exposition of its theoretical assumptions, and a critical analysis of its characteristic film style. Culturally, the Impressionists were instrumental in convincing an educated public that film could be an art in its own right. Through the founding of film jourmale (e.g., Le Film and Cinéa), Louis Delluc and his associates created an audience for avant-garde experiment. Similarly, the establishing of specialized theatres (G0 G4. Le Vieuy Colombier, Studio des Urselines) and ciné-clubs (CASA, Le Ciné-Club) sheubed a public interested in supporting new styles in cinema. By 1925, a film culture had emerged, and Impressionists played a dominant role in initiating it. The polemic of the Impressionist movement, apart from its impact on contemporary attitudes toward film as art, also rests on theoretical assumptions about the