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

Page scan 00042 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 #:
00042
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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29 That the cinema was at least as popular a pastime © as music-halls, vaudeville, cafes, and circuses may be indirectly observed in the growth of the film industry. By 1914, Pathé (the largest firm) had a capital of thirty million frances and garnered 8.4 million in annual profits.?¢ In 1913, one alarmed observer estimated that Paris contained over two hundred film theatres, with a Sunday clientele numbering 100,000 in all.14 Firms began building large luxury theatres such as the Omnia-Pathé, the Gaumont-Palace, and the Hippodrome, so that by 1916 Parisian theatres ranged from tiny salles with only twenty seats to the Gaumont-Palace with its five thousand seats, its eighty-piece orchestra, and its thirty-five-meter throw from the projector.14 The range in admission prices also assured a broad audience, with 1916 prices running from sixty centimes to twelve francs (equal to from $.12 to $2.40 in 1916 American currency). Besides the huge popularity of cinema per se, the generous: length of the programs (typically three hours), the inclusion of material which could appeal to diverse tastes (two fortyfive-minute features, one or two comedies, a documentary, and a newsreel) and the weekly changes of program contributed to the solidifying of a large-scale popular audi Cneey. 15