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

Page scan 00060 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 #:
00060
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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7 Perhaps most striking of all ids ‘the film career of the poet, Blaise Cendrars. A friend of Picasso, Braque, Gleizes, and Canudo; editor of Paul Laffitte's Editions de la Siréne; organizer of the first concert of Les Si x ; originator of the idea for Rélache, which he proposed to Satie--in all, Cendrars' activities placed him in the thick of the wartime and postwar avant-garde. Cendrars was involved in the cinema quite early, having played piano in a Bowery movie house in I9TE1942 ‘and having filmed newsreels for Pathé in 1914.85 [yn 1917, Cendrars plunged wholeheartedly into cinema work. He assisted Gance in filming J'Accuse and La Roue. (According to one biographer, it was Cendrars who Suggested that Honegger provide a score for the latter, 86) Cendrars!' "cinépoem," La Fin du Monde Filmée par 1'Ange de'N.D. (1919) was @llustrated by Léger, and his scenario La Perle Fievreuse | appeared serially in Signaux (Brussels), in 1923. Later Cendrars founded his own film company and made a film ona Hindu dancer (Vénus noire, 1923) and a documentary on elephants. 87 Cendrars' appetite for film work made him an extreme representative of the Curiosity about) film ‘that seized many French intellectuals and artists; overlooking the great differences in the men's aesthetic assumptions, Eve Francis seems justified in linking Apollinaire,