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

Page scan 00023 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 #:
00023
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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10 of the aesthetic coherence of a movement in which the various individuals participated and an account of how that movement developed over time. I am confident that. this undertaking can lead to an eventual heightening of individual differences, for against a clear background of the movement's "global" properties, our perception of the traits of individual film-makers can be more subtle and nuanced. To begin characterizing the movement and examining the heirarchic strata that may be considered to constitute it,’ Tf shall outline some external criteria for defining the Impressionist movement; that is the task of the rest of this chapter. The second chapter examines the nature of the Impressionists! activities in building a French film culture. The third chapter outlines the common film theory that underlay the Impressionists! writing. In chapter four, I shall construct a familyresemblance paradigm of Impressionist film style drawn from a body of works. The final chapter organizes a periodization scheme and estimates the influence of the movement as a whole. Throughout this study, the goal has been to draw from primary Sources--writings and films-evidence sufficient for Specific claims about cultural, theoretical, and stylistic change.” If it is too much to