Start Over

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

Page scan 00058 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 #:
00058
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.

parcelles du cinéma, c'est Forfaiture qui en a la rPesponsibilité, "80 Thanks, then, to Pearl White, William Ss. Hart, Charlie Chaplin, and The Cheat, many French artists and intellectuals took a keen interest in the American cinema. Philippe Soupault has vividly suggested the American films' charm: One day we saw hanging on the walls great posters as long as serpents. At every streetcorner a man, his face covered with a red handkerchief, leveled a revolver at the peaceful passersby. We imagined that we heard galloping hoofs, the roar of motors, explosions, and cries of death. We rushed into the cinemas and realized immediately that everything had changed. On the screen appeared the smile of Pearl White--that almost ferocious smile which an8 nounced the revolution, the beginning of a new world.?! Even more revealing is the novel by René Clair, Adams (1926), an extravaganza about a film Star who is possessed by the characters he portrays. Clair takes satiric jabs at the orgiastic frengy of film fans, who risk their Lives to attend: 4 premiere and who greet God as the ultimate movie star, but the main thrust of his humor is directed at the American cinema. His hero, Adams, shifts in and out of the personalities of the parts he plays on the screen, and all are modeled on American stars: Willian, the cowboy, is Hart; Harold, the Sophisticate, suggests Harold Lloyd; Charles, the timid lover, 18) Chaplin: Anto nio, the Latin Seducer, is Valentino; and Jack, the nimble