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

Page scan 00072 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 #:
00072
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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59 Fairbanks; the journal began to publish translations of Star articles from Photoplay. At the same time, the magaZine devoted much space to the recent French discovery of the work of the Swedes Sjostrom and Stiller.1°2 But most striking was Delluc's constant publicity for new tendencies in French film. Beginning with issue number 45 (17 March 1922), Cinéa bore the slogan, "Que le cinéma frangais soit francais. Que le cinéma frangais soit du cinéma." The journal published interviews and articles concerning the group of actors and directors whom Delluc considered the new hope of the French cinema: performers Such as Jacque Catelain, Eve Francis, and Sévérin-Mars, and directors such as Gance, Mosjoukine, Dulac, L'Herbier, and Epstein: like Delluc himself, all were prominent participants in Impressionist film-making. 1° That Dellue aimed his journal's polemic at a sophisticated audience is Suggested by Cinéa's attention to avant-garde activities (e.g., reviews of Cocteau's play Les»Mariés.de la;Tour Eiffel and the Ballets Suedois' Skating Rink!24), an occasional "highbrow" article (e.g., Lionel Landry's — attempt to illustrate Relativity Theory by means of cinemat25), and advertising for a leading fashionable Art Deco designer like Paul Poiret.126 Such publicity devi ceS as scenario and poster contests and plans for Cinea's