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

Page scan 00076 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 #:
00076
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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63 earlier, 156 Added to this was the cinema's entry into the — popular press: Le Journal inserted a cinema page in 1912137; Emile Vuillermoz wrote a film column for Le Temps shortly before Delluc began writing a film column for Paris-Midi in 1918; in October and November of 1921, five Paris newspapers initiated columns of film reviews; and in 1922, René Clair became film critic for Théatre et Comoedia Tllustre.138 Again, by 1929, forty-eight Parisian journals and twenty provincial ones published a film column regularly .159 Plainly, Delluec and other editors not only gratified popular eagerness to know more about cinema but also to some degree helped create still more interest, so that a network of film journals played its part in the establishment of the artistic status of film. Ciné-Clubs Another result of the cultural activities of the Impressionist movement was the development of ciné-clubs. Behind the notion of a group of people who should assemble to hear lectures and see and discuss films lay the same assumption that lay behind the burgeoning film journals: that film was an art worthy of serious consideration. Again, the causal relationship of club organizers to the audiences may be seen as an interaction, with the