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

Page scan 00067 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 #:
00067
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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5d after noting that 1916 French film production was inferior to foreign production, he urged film workers to regain the favor of audiences, 106 in LOT, Diamant-Berger took a more daring step by appointing the littérateur Colette as Orreie roe Le “Film, and he anticipated the objections of his industry-oriented advertisers and readers by defending his choice: Un journal doit tout dire Lorsque j'ai prié Mme. Colette de prendre dans ce. Journal yla eritique des Tilms gue ce grand Gcerivain tient depuis un mois de fagon magistrale, je l'ai assurée saliepeatin 3 que jamais rien ne contrarierait son indépendence Je l'ai priée ensuite de donner 4 mes lecteurs sa pensée tout entiére, son sentiment réel, son juge ment complet....Les droits de la critique sont impre Scriptables et sacrés pour moi. In what had started as a trade Journal, Colette's witty reviews must have seemed controversial. She summarized one film as "Dix-sept cent vVingt-cinq métres de bellroule., seize pages de notice sur beau papier glacé; argent perdu, temps gaché, je n'tajoute pas--et pour cause--talent gaspil1é,"108 Even her favorable reviews had a humorous cast not previously seen in Le Film, as when she wrote of Sessue Hayakawa that "Cette Japonaise gracieuse, aux yeux Spirituels, faiplit # cote de son mari sous le poids d'un premier réle, surtour d'un premier rdle habillé 4 1'euro péene "109 * Louis Del luc later wrote that Colette's Le Film essays "ont poussé la clairvoyance jusqu'au sadisme,"