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

Page scan 00065 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 #:
00065
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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La cinéma est 4 sa période d'apostolat, a une Epoque qui correspond, pour l'histoire des religions, a leur époque militant....Ces individus précurseurs sont des missionaires que la Cause envoie pour préparer ses triomphes et pour é6vangéliser les barbares.1! In retrospect, it may be doubted if Impressionist film Style could have continued for very long without the Impressionist's cultural proselytizing. What. follows is an exam ination of the kinds of activities these missionaries undertook. Journals The increased number of cinema periodicals aimed at aneducated audience is one of the strongest indications of the polemical success of the Impressionist movement. Since 1908, with the founding of the weekly CinéJournal, France had not lacked trade journals: Le Courrier Cinématographique (founded 1911), Lumiére (founded 1922), Le Film Frangais (founded 1923), and La Critique Cinématographique (founded 1926) were all aimed-at the producer or exhibitor and dealt with films as a commodity. The rather different conception of cinema as art is revealed in the founding of new journals, designed for an audience not professionally involved in cinema but nonetheless interested in its newly-grasped possibilities.!9° One of the most active polemicists of the time, Germaine Dulac,