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

Page scan 00048 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 #:
00048
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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\N on garnered an annual profit of 8.4 million franes, but in 1915, his company succumbed to a 4.8 million-frane deficit.?* Pathé was forced to seek backing from American companies, and as part of this arrangement, American films (up ‘tor this tine rare on French screens) were imported to fill the vacuum.5>5 The American invasion was spear headed by a Pearl White serial, The Exploits of Elaine, several Chaplin and Ince films, and Cecil B. DeMille's The Cheat--all released in France in 1915.34 This was the beginning of a wave that was not to recede until _— 1950", for American films quickly dominated the French market. Reliable figures on the number of French and American releases for the 1914-1918 period are not available, but the contemporary trade journals indicate clearly that during these years most American firms either opened Parisian branches or were directly represented by established firms. For example, in 1919 Fox=Filin had its own bureau, while Metro and Goldwyn were represented by Pathé Fréres, Lasky and Paramount by Gaumont, Mutual and Vitagraph by l'Agence Générale Cinématographique, Triangle and Keystone by Ciné-Location-Eclipse, and the independent productions of Ince and Sennett by Aubert.3° By 1922, First National, United Artists, Vitagraph, and Paramount all had their own Paris distribution offices.2© As a result, American