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

Page scan 00086 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 #:
00086
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
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

13 Short films commissioned by Tallier's Studio des Urselines, while Renoir's La Petite Marchande d'Allumettes was backed by Tedesco's Vieux-Colombier.1!62 tn all, the Specialized theatres, heavily publicized in the cinema journals and first established by individuals close to the Impressionist movement, served to reinforce the attitude toward cinema expressed in contemporary journals and ciné-club activities and to build an audience for panes garde film work, 163 Wider Recognition That the cinema journals, ciné-clubs, and specialized theatres of the time had an effect is revealed not only in their own increasing strength and numbers but also in occurrences that may be taken as culturally sanetioned recognitions of cinema's aesthetic status. The argument for film as art seems to have persuaded not only lovers of the cinema but also guardians of the arts. The first sign of such "official" recognition of cinema is the Musée Galliera's "Exposition de l'Art dans le Cinéma Frangais" in 1924. In his introduction to the Exposition brochure, Georges Lecomte congratulates film on having raised itself so quickly to the level of an art: