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 #:
00040
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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of and artists lavished on the imported American films. These two factors indicate the prenbnce of an audience which would be receptive to the writings and films of an avant-garde movement like Impressionism. It had become a commonplace to note that immediately prior to World War I there was extraordinary activity in the Parisian art scene. The year 1911 witnessed the rise of Cubism in a series of landmark eeha babiathe In the following year, Debussy wrote Jeux for the Ballets Russes, some Cubists formed the Section d'Or group, Picasso and Braque began work on collages, and Apollinaire, Raynal, Gleizes, and Metzinger all began publishing studies of Cubism.? Roger Shattuck has seen 1913 as the climax of such activity, and he adduces as evidence the rise of Vorticism, the publication of Marinetti's Futurist manifesto, the founding of Copeau's Vieux-Colombier, and the premier of Le Sacre du Printemps; one could add that the same year marked the publication of Apollinaire's Les Peintres Cubists and Alcools, Blaise Cendrars' Prose du Transsiberien, Cocteau's Le Potomak, and the first volume of Proust's A ia Recherche du Temps Perdus. © But the film played no part in this Parisian renaissance of the arts; with the exception of Riccioto Canudo (whose contributions will be discussed in a later section), artists before 1914 apparently did not regard cinema as