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

Page scan 00077 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 #:
00077
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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64 organizers responding to an already-existing enthusiasm but also creating new interests by the choice of lecturers and films. Not surprisingly, the clubs promoted the same French, German, Swedish, and American film work as the journals did, so that there is little doubt of the existence of a Parisian audience (whatever size it may have been) that was created in large measure by the Impressionist movement. It was again Louis Dellue who initiated the idea of a ciné-club with his publication Le Journal du CinéClub. In the first issue, C. de Vesme explained that the ciné-club's goal was to "grouper autour de l1'élite et des professionals servient des cadres, toute une armée constituée par le grand public passioné du Cinéma. "140 Proposed activities included conferences accompanied by referenda on the best films of the year, encouragement of amateur film-making, and the pressuring of large film firms. Although the date of the founding of Delluc's ciné-club (3 January 1920) was specified in its journal, some historians have claimed that no actual organization existed and that Delluc originated only the concept.141 It“ is true that the statutes of the club make no provision for regular meetings, but in 1920, there were at least three conferences organized by the Ciné-Club (on 12 June,