Start Over

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 #:
00047
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.

44 cinéastes. There is thus some justice in Harry Alan Po tamkin's claim that "The Cinema in France has influeneed French letters before it has influenced itself.1e8 A Tew artists and critics were as quick to recognize aesthetic possibilities in the cinema: Maurice Raynal, a leading defender of Cubism, praised Feuillade's Fantomas ecStatically ("0 noblesse! 6 Beaute! wo 2 NCOPe, a7 jtavais sous la main la plume d'un Brunétiére!"¢9), Standish Lawder has discussed in detail both Picasso's and Leopold Survage's plans for Cubist films between 1912 ana 194.4 28 But it appears that the full force of cinema as a modern popular art became particularly clear after 1915, .the .year of the massive importation of American films. into Paris, While detailed industrial history is not within the scope of this work, some general causes and consequences of the influx of American films must be indicated. It is no exaggeration to Say that World War I ea French film industry profoundly. Workers in factories and studios were mobilized, the nitrocellulose needed for raw film was commandeered for use in making explosives; film factories were requisitioned for use aS munitions plants.31 Production fe,l Off: sharply. The magnitude of the war's threat is typified most clearly in the plight of Charles Pathé's firm. By 1914, he had