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

Page scan 00084 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 #:
00084
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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(1 established as classics: that meant, chiefly, German Expressionism, American comedy and drama, Swedish films, and Impressionist cinema. Thus between 1924 and 1927, the Vieux-Colombier showed Warning Shadows, The Kid, The det, La Roue, The Last Laugh, The Pilgrim, Siegfried, The Joyless Street, The Navigator, Broken Blossoms, Sunnyside, Le Brasier Ardent, Kean, and others.156 In addition, the Vieux-Colombier held conferences on cinema and invited film-makers to speak at screenings (e.g., Baroncelli before Péchur d'Islande and Epstein before Coeur Fidéle).157 Ina short time, the Vieux-Colombier played a pioneering role in solidifying a French film culture. Of the other theatre-owners who followed Tedesco's example, the most significant is Armand Tallier, who (with L. Myrga) opened the Studio des Urselines on 21 January 1926. Like the Vieux-Colombier, the building had once housed an avant-garde stage troupe (Dullin's "Atelier" ensemble), but under Tallier's hand it became a center for a specialized film audience. As usual, the appeal was deliberately exclusive: "We propose to recruit our’ public’ from among the elite of writers, artists, and