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

Page scan 00083 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 #:
00083
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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70 permanent basis until Jean Tedesco opened the VieuxColombier on 14 November 1924. It was to be the first step toward that "hiérarchie des salles" which Canudo had envisioned. Between 1913 and 1924, Jacques Copeau had made the Vieux-Colombier one of the most famous avant-garde theatre studios in Paris; it was the laboratory of his experimental productions of Romains, Gide, and Ghéon. After Copeau,left, Tedesco, editor of, Cinéa-Ciné' pour Tous, continued the Vieux-Colombier's tradition of avantgarde activity by transforming the studio into a film theatre whose screenings were devoted to establishing the artistic;status of. cinema. The importance of..Tedesco's work was double. First, he screened many current avant-garde works and premiered such important films as Menilmontant (22 January 1926) and La Petite Marchande d'Allumettes (June 1928). Perhaps more important, though, was the Vieux-Colombier's custom of showing old films. As noted above, with some exceptions like The Cheat and Chaplin films, it was relatively rare for a Paris theatre to revive old films. But Tedesco's policy of showing films of artistic interest led him to. base.his programs heavily on films which the writings in the film journals and the lectures and screenings in the ciné-clubs had already