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 #:
00031
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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from theatrical backgrounds, but whereas the older generation tended to be former actors (Perret, Linder) , directors (Antoine), or technicians (Jasset), the ImpresSlionists had written plays (L'Herbier, Gance) or drama criticism (Canudo, Delluc, Dulac), and some had musical training (Canudo, L'Herbier, Kirsanov). Sirenificant ly, the commercial directors rose to prominence when ee he relying heavily on the stage and the formula SChint., made the director an interpreter of other people's works; hence, perhaps, the reliance on practiced theatre ecraftsmen. But Impressionists, who praised directors and not Scenarists and wrote their own scripts, HAgnit ead filmmaking with an autonomous act of creation, akin to writing an original play or musical composition. By contrast, except for Chomette all of the members of the abstractfilm movement (Eggeling, Duchamp, Léger) were painters; given the pure graphic style of their works, this is hardly surprising. The external criteria of age and background, then, start to distinguish broadly among the three groups considered. Less clear-cut is the third external criterion for defining the Impressionist film-makers: their produetion methods. From 1914, film-makers had usually been hired on a contractual basis by the large firms: Feuillade