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

Page scan 00033 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 #:
00033
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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20 who retained artistic control while working for large firms), Impressionist film-making had a semi-independence which distinguished it from Standard commercial filmmaking. (Indeed, as we shall see, the loss:.of. thie: semis independence was influential in bringing the movement to anvemd,) The Impressionists, though, were not nearly as independent as the members of the abstract-film group. The films of the latter were Very enore (i.e... five (te twenty minutes), rarely used actors or technicians, and oe required little financing (the chief source of funds usually being the film-makers and their friends). MoreOver, the abstract films were not distributed through the large theatre circuits (as both the standard commercial films and the Impressionist films were) but rather were usually shown at avant-garde gatherings. Impressionist film production was able to follow a middle path: it was not as commercially restricted as the standard production, but because it operated on a large scale and was still bound to a commercial exhibition System, it was not as completely independent as the abstract-film productions. But even buttressed by evidence of differing outlooks, the provisional external distinctions of age, background, and production methods offer little insight into the uniqueness of Impressionism as a movement. The most