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

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2% 10Sadoul's account appears in two works and is substantially the same in both: Le Cinéma Frangais (Paris: Flammarion, 1962), pp. 23-34; and Histoire du Cinéma Mondial (Raria: Plammanions 1968) po. Thsett yr. uw 1ijean Mitry, Histoire du Cinéma, vol. II (Paris: Editions Universitaire 1969), pp. 49o5-44s5. 1estandish Dyer Lawder, Structuralism and Movement in Experimental Film and Modern Art, 1896-1925 (Cunpublished Ph.D. dissertation, Yale University, 1967). 13Louis Delluc, Cinéma et Cie (Paris: Grasset, TP AS) Ss). Ba POO. een aan enn tei ey eh: Teas pps) Benes. 16Riccioto Canudo, Usine des Images (Geneva: Office Centrale d'Edition, 1927), p. 40, 17See in Delluc: Cinema et: Cie, op. 70) 72, 98, Toy 122 SON. 268. tee oe ooo. 18Louis Feulllade, "Lettre," Cinéa-Ciné pour Tous no. 51 (15 February 1928) 3 2. 19Quoted in André Lang, Déplacements et Villagéatures Littéraires (Paris: Renaissance du Livre, n.d. (1Gese7 ), SMe if oe am e“Vibid., poo. 416-127) er bids. Be 195), eo hs DOM oN a 2 0 e3Pierre Porte, "Le Cinéma Pur," Cinéa-Ciné pour Tous, now be. 02 sanuary: 1926). +43. 247ean Tedesco,“ Cingma, Pur, CinéaeCine pour (Tous no. 60°(1 March 1927), 9-11. : eo Jean Epstein, "L'Objectif Lui-Méme," Cinéa-Ciné pour Tous no. 53 (15 January 1926),. 7. 6 es 2 Me eae" “OAndrd Délons, "Cinéma Pur et Cinéma Russe," 3 Cinéa-Ciné pour Tous’ no.) 105) (15 Maren 1920), 12.