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

Page scan 00025 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 #:
00025
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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Kirsanov, Ivan Mosjoukine). Occasionally, a film-maker not basically involved with the movement made a film in the Impressionist style (e.g., Jacques Feyder, Jean Renoir). Some of these members were close friends or professional associates; others are included in the move ment simply because of their theoretical position or film style. As mentioned earlier, this study will stress common features of individual behavior that contributed to the creation of a unified movement. As a group, the individuals in the Impressionist movement are distinguishable from what I shall call the established commercial film-makers on the one hand and the "abstract-film" or "pure-film" avant-gardists on the other. The commercial film-makers participated in few cultural activities and benefited from no coherent theories; they simply worked for large firms, although what has survived of their work reveals an extraordinarily high level of film talent. Prominent in this group are Louis Feuillade, Victorine Jasset, Léonce Perret, Max Linder, and André Antoine.. In sharp contrast is the abstract-film movement, which, although less active on the cultural front, did generate some theoretical activi ty. The films of this movement are characterized by lack of narrative and an interest in pure visual form and