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

Page scan 00090 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 #:
00090
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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Ut Specialized theatres regularly offered screenings of older: as well as contemporary work, thus making the tradition accessible. Impressionist film-makers wrote, lectured, and introduced screenings of their films. By 1925, the cinema was widely recognized by workers in other arts as of genuine aesthetic ineeeaees ta Chiefly through the unified activity of the Impressionist movement, a film culture had been built: a public had been created that was prepared to see cinema as an art. But behind the ivbpridwad oie’ activities lay a theory. If film We an art, what kind of art was it? What were the characteristics of the medium? Such theoretical assumptions and arguments are the concern of the next chapter.