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

Page scan 00088 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 #:
00088
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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15 campaign for wider recognition OF Liim az art. The year 1925, however, may be taken as the culmination of the campaign. In that year, the influential literary journal Cahiers au Mois for the first time turned its attention to film by publishing a volume of scenarios (issue Humber t2 yard a volume of essays (number 16-17) and then co-sponsoring a series of conferences with Le Ciné Club de France and the Vieux-Colombier, at which Epstein, Dulac, and Colette gave lectures accompanied by screenings. 166 Perhaps most significant was the place accorded to the cinema in the 1925 Exposition des Arts, Décoratifs.. Opening on.29 April. situated, along both banks of the Seine, the Exposition has come to be reparded.as a landmark, in the history of, "le. style modern" or Art Deco,167 Here, among over 130 pavillions representing many countries and artistic movements and containing works by Le Corbusier, Mare, Mallet-Stevens, Paul Colin, the Italian Futurists, and others, the cinema was given a notable place. Many films were shown in various national pavillions (e.g., in the Soviet pavillion) and in specialized exhibits (e.g., the Comoedia pavillion), and according to contemporary report an entire pavillion was given over to cinema, 168 More importantly, the French films that were screened reflected (as had the Musée