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

Page scan 00041 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 #:
00041
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
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

a new aesthetic resource. The cinema's rise to artistic status during later years is in part due to a new attitude toward the popular arts as a whole, which Shattuck has characterized as "qa sense of exhilaration in the absurd."/ The cafe-culture of Parisian artists had included popular spectacle since the time of the Impressionists, and in the pre-war years, the avant-garde frequented dance-halls, music-halls, cafes, and circuses.8 But for several avant-garde artists the popular arts represented not only diversion but a rich source of material. In Le Cog set. L*Arlequin -(19%8)); Cocteau called for a stripped-down, hard-edged art and claimed that the music-hall and the cafe-concert were the only pure forms of music prevailing. ? Similarly yo Cocteau called Les Mariés de-la Tour Eiffel:"a\secret marriage between ancient tragedy and an end-of-year revue, between chorus and music-hall number."19 The circus also became material for an avant-garde aesthetic. Cocteau and Gleizes drew up plans for staging A Midsummer Night's Dream at Le Cirque Medrano, using music by Varése, Satie, and Stravinsky and casting the famous clowns the Fratellinis as the rustics, while Louis Durey's musical piece Scénes de Cirque and Satie's Parade reveal an attempt to use e circus spectacle aesthetically.!1