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

Page scan 00062 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 #:
00062
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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OQ element in their aesthetic, it is perhaps not surprising that many artists saw in cinema (and particularly the American cinema) the culmination of a physically dynamic conception of art. Related tothis ideais° another point made frequently at the time by avant-gardists, that the cinema, art of the twentieth century, epitomizes modernity. .In 1919, Dellue called a Fairbanks film "la force neuve de la poésie moderne"?) and Mareel Gromaire claimed that "Le cinéma nouveau contentera notre besoin d'un art plus étroitement allié au dynamisme moderne." 4 From this perspective, the American cinema again took on great importance: "The American cinema," wrote Soupault, "brought.towlight abl. ithe ‘beauty of“our epoch, ‘and all’ the mystery of modern mechanics."9°2 Of the American fein, Picabia wrote: "Il se renouvelle constamnent, nous révélant la vie moderne sous tous les aspects tragiques ot comique. "96 One writer went so far as to claim that the cinema transforms one's perception of contemporary life. "It is from the cinema," wrote Albert Valentin, "that our era borrows its color, its picturesqueness, and the moral atmosphere in which it breathes....It is impossible for us today to consider an aspect of the world without immediately divesting it of its visible form and then thinking of nothing but the representation of it we have