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

Page scan 00015 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 #:
00015
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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ine) For my purposes, a hierarchic or stratified construct has the most advantages.1! First, it permits us to create distinct patterns in what was in fact a confluent, overlapping series of events. Second, a hierarchie construct permits us to examine similarities between strata (e.g., between Impressionist film theory and Impressionist film style). Finally a hierarchic construct renders periodization more flexible, since periodization may be applied to any stratum individually; this permits us to avoid what Leonard S. Meyer has called the fallacy of hierarchic uniformity, "the tacit and usually unconscious assumption that the same forces and processes which order and articulate one hierarchic level are operative, are equally effective, and function in the same fashion in the,.structuring ofall levels."¢ We start, then, with a multilayered phenomenon. In France between 1918 and 1928, the Impressionist movement emerged. It engaged in a polemical crusade for film's status as an art, stimulated the creation of a theory of film, and created a distinctive film style. This study will examine the operation of this movement on three historical strata: the stratum of cultural activities which sought to establish film as an art; the stratum of theoretical writing; and the stratum of film style. These three strata constitute complementary «