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 #:
00046
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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equivalents of film techniques such as stop-motion and accelerated action: A ce moment apparait un autre vieillard qui se Cnealise en enTAnt wile en Teme. ok te ee léve et tous disparaissent, je m'installe a la terrasse d'un cafe, mais tous les objets, les chaises, les tables, les fusains dans les tonneaux, se groupent autour de moi et me génent, tandis que le garcon tourne autour de ce groupe aves une rapidité uniformement accélérée. ..., Perhaps most elaborate in their Méliés-like playing with time and space were the poems of Pierre-Albert Birot who, under the admitted influence of Apollianire, publish ed in 1920 Cinéma: Drames, Poémes dans l'Espace. Poems A which ambitiously search for verbal equivalents of cinematic effects, Birot's works play with "filmic" devices ranging from slowand fast-motion to stop-action and animation. In Ver ke le? |) there are multiplying and doubling characters, digsppcaring characters, repeated scenes, and accelerated action; at one point, a grey room changes to maroon, then black, green, and rose; then the room disappears but the color remains.°® In Che 1920" s, Such "cinematic" poetry would continue, chiefly in the ee wm hands of Jean Epstein and Philippe Soupault. But what most significant is that after around 1914, some avantgarde poets began to experiment with subjects and techniques drawn from the cinema.2/7 Furthermore, almost all these poetic experiments predate the work of avant-garde