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 #:
00032
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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19 worked for Gaumont, Perret for Union-Eclair, Antoine ror’ Pathe™s* STCsRUarEn . <i \sbme Impressionist film-makers were initially employed on a similar basis: Gance, Epstein, and Dulac all began their careers working for Pathé, while L'Herbier worked for Gaumont. But with the flagging of the French film industry during and after the war, several Impressionist film-makers moved toward semiindependent production. Enterprising individualists like Henri Diamant-Berger and Germaine Dulac founded their Own production companies; it was through Diamant-Berger's concern, for example, that Clair was able to make his first. film: Paris’ Qui Dort’. In’ 1918) Louis Nalpas, formerly head of "Film d'art," became still more ambitious, setting up a studio in Nite,’ claiming’ a capitaloor two million francs, and advertising in Le Journal de Ciné-Club that he had "pour object de faciliter, favoriser, dévélopper la production cinématographique en France."°8 Nalpas financed productions of Dulac, Delluc, and others. Eventually, through the 1920's, several Impressionist filmmakers created their own companies (e.g., Les Films de Jean Epstein, L'Herbier's "Cinegraphic"). Fheguehen you large firms would rent or loan studios and facilities to such independent firms in exchange for distribution oO é ‘ rights .°9 Thus, despite some exceptions (e.g., Gance,