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

Page scan 00080 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 #:
00080
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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67 consequence of another effort of Delluc's. In 1922, Delluc founded a more permanent ciné-club composed chiefly of critics and film-makers; his chief accomplishments were Some major screenings (e.g., The Cabinet of Dr. Caligari and Deschamps' L'Agonie des’? Aiples)iii tater im 1922), Léon Moussinac began Le Club Francais du Cinéma, composed of both professionals and interested spectators. After the deaths of Canudo and Delluc (the latter in 1924), CASA and Le Club Francais du Cinéma merged with the CinéClub to create Le Ciné-Club de France. Moussinac, Dulac, Gance, Léon Poirier, René Jeanne, Henri Chomette, and Armand Tallier were prominent in Le Ciné-Club de France, which screened recent films (e.g., Feu Mathias Paseal!#8) and held numerous conferences and. public lectures. With Charles Léger's founding of the club La Tribune Libre du Cinéma at the Exposition des Arts Decoratifs in 1925, the Ciné-Club's emphasis on current films was complemented by Léger's historically-oriented programs of French and foreign classics. 149 One further expansion of the ciné-clubs! public occurred in the late 1920's in response to government censorship. Government officials permitted ciné-clubs to screen films which were banned from public showing, and after Le Ciné-Club de France showed the forbidden Potemkin in 1926, the educated public became even more 6