Start Over

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

Page scan 00070 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 #:
00070
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
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

57 poem "Avant le Cinéma," and Delluc himself wrote contes for the journal,116 By making Le Film less industrycentered and more attentive to directors and scenarists, Delluc raised its quality to a point where Diamant-Berger could assert that a new force had arisen: "Le nom de ce journal restera, c'est notre gloire, inséparable de l'thistoire du relévement de la fabrication francaise. "117 In 1919 Diamant-Berger's departure for active filmmaking prompted Delluc to leave Le Baim, but, the influence of both men continued to some extent. Indeed, perhaps the strongest proof of Delluc's impact on Le Film is to be found in an article published after his departure, in which Lyonel Robert makes a remark unthinkable in any other French film journal of the time: "Nous assistons 4 une floraison pleine de promesses. Le cinéma frangaise renait é6pure, affiné, plus fort que jamais....Des éléments artistiques et intellectuels s'introduisent et bien rares et arriérés sont maintenant ceux qui ne peuvent apercevoir (dans le cinéma) un art véritable."11 Delluc went on to establish another periodical, Le Journal du Ciné-Club, in January 1920. Dellue saw the journal's primary purpose to be that of listang all Parisian and suburban film programs. Although Le Journal du Ciné-Club had many fewer articles of a general and critical nature than did Le Film, it nonetheless maintained some variety: reviews by Delluc and his schoolfriend