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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 #:
00014
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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CHAPTER I. INTRODUCTION Aims of This Study; Previous Research Se en eS eV LOS emea ir ar Like the history of painting, literature, and music, the history of cinema contains Vent ae ee movements--ensembles of art works, polemics, theories, and activities which constitute both internally coherent positions and explicit challenges to already existing Styles. The challenging side of avant-gardes may be the most immediately noticeable, but such movements posit unified alternatives as well: In this study, 2 shall be concerned with such a movement in cinema: that of French Impressionism. I shall show that this movement defined itself not only by revolt against already existing norms but also, more positively, by the creation Of @ unified set of filme, writings, and cultural institutions. This is a historical question, and in this study [ am assuming that history is a construct. All that remains of the Impressionist movement are films, documents, and the testimony of Surviving members. To demonstrate Significant patterns in these data the historian must build a structure which organizes the data intelligibly.