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

Page scan 00051 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 #:
00051
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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the films he made for Thomas Ince were praised by Colette > and Delluc, 15 Cocteau and Jean and Valentine Hugo went frequently..to Hart films, 46 and Jean Epstein claimed that Ince's, direction of .Hart in Selfish Yates (1918) determined his cinema career.47 Perhaps the greatest homage which the French paid to Hart (whom Delluc called "frére brutal des fils Aymond, de Roland et de Jean Reynaud"48) was the affectionate allusion to "Arizona Jim" in Le Crime de M. Lange (1935); both Jacques Prévert and Jean Renoir had known the American cinema since their childhoods. Undoubtedly, however, the single most popular American film star was the one whom thé French named Charlot. "The French," wrote Henry C. Dodge in June of 1916, "have adopted Charlie Chaplin."49 Not only were his latest films in great demand, but his early work was constantly revived. Between September and December of 1918, for example, Parisian distributors not only released the current A Dog's Life (released in America in April) but also reissued The Count, The Pawnshop, The Rink, and The Cure (all made in 1916).99 Again, in one week in October 1920, ten jarketen theatres (one out of every eight listing their programs) were showing Chaplin titles. >! So eagerly were distributors obtaining illegal copies of Chaplin's films that l'Agence Générale Cinématographique had to publish advertisements warning that it was the only €