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

Page scan 00066 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 #:
00066
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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insisted on the necessity of disseminating new ideas about cinema through writing: Dans 1*état actuel de la cinématographie, les ecritiques, les études, les polémiques ont autant de valeur agissante que les réalisations. Je dirai méme qu'elles en ont plus...Elles aiguillent le cinéma vers un but précis, lui révélant sa forme idéale, son image parfaite alors qui adine peut les contempler actuellement que déformées. 103 Such a body of writing as Dulac called for needed the kind of forum that a journal could provide. The first such journal was Le; Bilin’? Originally founded (in February 1f 1914) as "avant tout un organ de défense corporative,"104 Le Film began as a weekly devoted to news of the film industry and aimed at both exhibitors wy el and the general public. By the thirteenth issue (22) May 1914), the journal's theatre columnist, Henri DiamantBerger, became editor-in-chief. Diamant-Berger added columns on music and current books and initiated a column of film reviews (usually only plot summaries) called "Ciné-critique." The most innovative aspect ‘of His’ early editorship, however, was the Vigor Of his*eddtorial's , which took partisan positions on such topics as film sand education, taxes, film syndicates, and censorship. 109% The spirit of Diamant-Berger's editorials in be fila Gest i= fies to his concern for the active role of a journal in Shaping the state of the current cinema. For example,