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

Page scan 00063 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 #:
00063
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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seen in a film, removing it from the material domain Ve occupies and placing it in the vague realm of dream and abstraction."9/ Perhaps most interesting is the possible vole OF cinema in a destruction of what some avant-gardists cons1 dered frozen and outdated aesthetic conventions: film gives us "reality." Georgette Leblanc, for example, wrote of a film: "Est ce de l'art? Qu'importe! Encore : ‘ gies the Qs une fois, c'est de la vie, et voila Ltessentiel."9° Delluc, whose entire theory of film, as we shall see, depends on a tension between realism and artcafrictadaity, claimed that "Le cinéma est justement un acheminement vers cette suppression de l'art qui dépasse l'art, éEtant.da vie."99 \Most @irect is this note of Soupault's: "One of the most definite qualities of the American influence resides in the close relationship between art and life. By way of contrast to this statement one might note that European art exists on a misunderstanding. It escapes from life in order to return to it by a detour. This is a symptom of age and a warning of decadence."199 Most probably, the attraction which the cinema held for many intellectuals and artists was a product of all these factors. What is important for our purposes is that the attraction did exist and that it provided a base of sup port for the cultural activities, theories, and filme (of