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

Page scan 00087 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 #:
00087
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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7h Aujourd'hui, le cinéma a cessé d'étre un vain jouet. Il ne s'agit plus de mettre du noir sur du blanc, en tournant une manivelle de piano mécanique. Les artistes ont soudain compris tout ce Qu" Lié6 pouvaient tirer de cette puissance d'animation. Et, a l'art du photographe, ils ont substitué leur art, tout en gardant le soleil comme collabora teur. What is significant about the exposition is that it bears the influence of the tastes of the journals, ciné-clubs, and specialized theatres. The stills, scripts, set and costume designs, posters, and books on display were drawn from the Impressionist movement, which was dominating the journals and cultural activities. The works of Delluc, Dulac, Gance, Epstein, and L'Herbier (and 86 a lesser extent, those oF Baroncelli, Fescourt, and Poirier) were spotlighted, and such older creators as Feuillade, Perret, Linder, and Jasset were given very slight recognition.165 ‘The Exposition jury included some older financiers (Pathé and Gaumont) and an inventor (Lumiére) but it was chiefly composed of young critics (Coissac, Vuillermoz, and Moussinac) and directors (Gance, L'Herbier). The Exposition's lecture series might have been taken from Cinéa's table of contents: Blum, Coresac, Moussinac, L'Herbier, Catelain, Mallet-Stevens, and Epstein all gave talks on film aesthetics. Although no films were screened, the 1924 exposition at the Musée Galliera marks a significant victory in the Impressionist