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

Page scan 00064 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 #:
00064
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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oe the Impressionists. The Building of a French Film Culture The relation of Impressionist cultural activity to its context was almost certainly a dialectical one. While some intellectuals and artists were to some extent already prepared to see cinema as an art, the Impressionist writers had a good deal to do with reinforeing “and promulgating this attitude. Reciprocally, the enthusiasm of this public permitted the activities to continue and grow in strength. Although the causal texture of the events is dense, we may for analytical purposes isolate certain concrete projects largely carried out by members of the Impressionist movement. These projects include the founding of journals devoted to cinema, the creation of film clubs, the establishment of theatres for a specialized audience, and the "official" recognition of cinema by certain organizations in the artistic and literary worlds. The force behind virtually all these activities was a small circle of writers and activists--Riccioto Canada , Louis Delluc, Jean Tedesco, and their associates--and their goal, permeating their writings and activities, was to persuade the public that the cinema was an art. Jean Epstein revealed the almost religious fervor behind the program when he said in a public lecture: