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 #:
00045
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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42 passage: Au son d'une musique absurde Nous verrons défiler les Kurdes Le fils du banquier Capulet Amoureux fou de Juliette Et si le livret est trop béte Le décors ne seront pas laids. Sherlock sera propriétaire Des sécrets d'un noble déchu Un innocent foreat reviendra millionaire Et le voleur du parachute Au célébre inventeur de son pére Démolira les revebéres Z Snas €mouvoir le commissaire.©2 In "Cinématographe" (1917), Jacob renders the frenzied activity of bourgeois melodrama on the screen: Une famille de province dans un fiacre: il est bien €tonnant que les deux bonnes soient dans la Capote, on les met ensuite sur le siége, puis sur les marchepieds, ou elles s'endorment. Pendant ce temps, deux cambrioleurs sont montés dans la capote et se livrent 4 des eccentricités. Ils mettent a toute ce monde qui dort des oreilles en corton et, le lendemain matin, monsieur, madame et les bonnes ne se réconnaitront plus.¢3 Apollianire himself composed a brief poem, "Avant le Cinéma" (dated 20 March 1917) which, despite its satire ("Les Artistes que sont-ce donc/ ce ne sont plus ceux qui cultivent Les Beaux-Arts."24) , marks a notable insistence on regarding the cinema as an independent art, distinct from but equal to the traditional arts. Unlike "Avant le Cinéma," Philippe Soupault's "Indifférence: Poéme Cinématographique" (dated December 1917) uses the cinema not as a subject but rather as a model of artistic trickery. Soupault builds his poem upon verbal