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

Page scan 00075 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 #:
00075
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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62 Kirsanov and Clair were also featured at length.132 But the greatest attention was paid to Gance. In 1917, Delluc had hailed Mater Dolorosa as "le chef d'oeuvre de la Cinématographie francaise."133 arter the completion of La Roue, Gance was extensively interviewed for Cinéa-Ciné pour Tous. And from April 1925 to November 1927, the magazine ran no fewer than seven articles on the filming of Napoleon,.134 Because of this stress on the Impressionist avant-garde, one can agree with Marcel Tariol that although Delluc himself would perhaps not have approved of all the works of the avant-garde, he had helped create "un public trés restreint certes, nous l'avons dit, mais receptif et pret 4 admettre toutes les audaces."135 The middle and late 1920's saw an even greater increase in film writing and journals, both coroorative and nonprofessional. Canudo's Gazette des Sept Arts (founded in 1923) published articles by Epstein on Pasteur and Honegger on La Roue. By 1925, Ciné-Miroir, Mon Ciné, and Cinoedia had appeared; by 1928, there was Hebdo-Film ua Griffe Cinématographique, L'Ecran, Revue du Cinéma, and La Semaine Cinématographique; by 1929, Le Tout-Cinéma estimated that there were thirty-eight specialized film journals (counting trade journals) in Paris alone--a considerable growth from the half-dozen of a decade