Start Over

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

Page scan 00073 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 #:
00073
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.

60 readers to finance a film may also be seen as attempts to reinvigorate French film-making. 127 Cinéa thus emerges as the culmination of Delluc's efforts to win the educated public to cinema in general and to Impressionist cinema in particular. While Delluc was founding Le Journal du Ciné-Club and Cinéa, others were beginning to publish film journals. In 1921, Jean Pascal and Adrien Maitre founded Cinémagazine, a more popular variant of Le Film which ran serial novels (e.g., for Feuillade's Parisette) and rarely emphasized film directors to the extent that Delluc's journals did. Similarly broad in audience appeal was Pierre Henry's Ciné pour Tous (founded in 1919), which chiefly featured articles on film stars: ‘out: of 123 articles listed in the cumulative index of Ciné pour Tous, only four concerned directors, whereas out of sixty-four articles listed in Cinea's cumulative index, eleven were on directors.128 In November of 19243, however, Ciné pour Tout merged with Cinéa to form Cinéa-Ciné pour Tous, a bimonthly that was to continue for several years as the most informative French journal aimed at a nonprofessional public. :(Dellue'ts co-editor, Jean Tedesco, assumed editorShip of the new journal.) A new concern with detail in Cinéa-Ciné pour Tous Suggests that its readership had