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

Page scan 00030 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 #:
00030
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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Lt movements. But the differences among the movements were not only in the participants' attitudes. The Impressionist movement may be provisionally distinguished on three criteria. First, the Impressionists were of somewhat different ages and backgrounds than members of the standard commercial cinema. Antoine, Feulllade, and Jasset were all born between 1858 and 1870, making them at least middle-aged in the period to be considered here. By 1920, Linder was thirty-seven, Perret was forty, Feuillade was forty-seven, Jasset was fifty-eight, and Antoine was Sixty-two: average age, forty-eight. In contrast, within the group the principal Impressionists were the younger ones. In 1920, the oldest (Canudo) was forty-one, Dulac was thirty-eight, Gance was thirty-one, Delluc and L*Herbiér' thirty; ‘Epstein twenty-three, Clair twenty-two, and Kirsanov twenty-one: average age, just under thirty: The Impressionists were thus of a somewhat younger generation, and their movement's fervor undoubtedly owed a good deal to their youthfulness. As we might expect, the members of the abstract-film movement were roughly equivalent in age to the Impressionists. A comparison of backgrounds of the members of various groups is even more revealing. Like the commer cial directors, the Impressionists almost always came 6