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

Page scan 00050 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 #:
00050
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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+4 in order to make filming more efficient.49 More Obviously, certain films began copying popular American formulas (e.g., the mystery serial) and importing popular American Stars like Sessue Hayakawa and Fanny Ward. If the sarcastie remarks? of @ritice? like Colétte®s ana® LOUIS! Del ludtiave to be trusted, French imitations of American films were far inferior to the originals. 41 For the general public as well as artists and in tellectuals, the most appealing elements of the American films were the stars. American comedians like Harold Lloyd, Al Saint John, Fatty Arbuckle, Clyde Cook, and Buster Keaton were widely known.42 Pearl White gained a similar success. After The Romance of Elaine (retitled Les Mystéres de New-York) and The Iron Claw (retitled Le Masque aux Dents Blanches) were released in Paris-all accompanied by feuilletons running serially in be | Matin--Pearl White seemed to Dellue to incarnate modern womanhood: Le type méme de ce que devrait @tre une femme de chambre moderne, sachant conduire une auto, rattraper le rapide quand vous avez oublié de mettre une lettre a la poste, réconcilier les gens les plus séparés de la terre, trouver des fortunes au fond des: caves, rs une débrouillarde, une débrouillarde, une, etc. No wonder, then, that Cocteau composed his journal of a frenetic trip as a "Pearl White film."44 William S. Hart enjoyed no less a vogue under the pseudonym of "Rio Jim":