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

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 #:
000101
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.

88 on L'Herbier, see Pierre Heuzé, "Une Innovation Technique," Cinéa-Ciné pour Tous no. 53 (15 January H926) 723. 132 Jean Tedesco, "Pour un Cinéaste Inconnu," Cinéa-Ciné pour Tous no. 54 (1 February 1926), pp. 11-12; Marianne Alby, "Un Entretien avec René Clair," Cinéa-Ciné pour Tous mo. 42:1) August 1925). 24-22), 155Louis Delluc, "Mater Dolorosa," Le Film nos. 22-93 (17-24 December 1917), 25. | 134 Jean Mitry, "Abel Gance Nous Parle du Cinéma," Cinéa-Ciné pour Tous no. 3 (15 December 1923), 8; Marianne Alby, "Abel Gance Tourne," Cinéa-Ciné pour Tous nal 3 (15 December £9235)i7'9-10; Juan Arroy , Quelques Minutes avec Napoléon Bonaparte," Cinéa-Ciné pour Tous no. 34 (1 April 1925), 19; Juan Arroy, "Quelques Minutes avec Abel Gance," Cinéa-Ciné pour Tous no. 43 (15 Auguist:°1925), 7-8; Anonymous, "En Suivant Napoléon," Cinéa-Ciné pour Tous no. 60 (1 May 1926), 24; Edmond Epardaud, "Gance a Tourne les Scénes de 'la_ Convention,'" Cinéa-Ciné pour Tous no. 62 (1 June 1926), 11; Anonymous ,"En Suivant Napoléon," Cinéa-Ciné pour Tous no. 63 (15 June 1926), 15; Anonymous, "Napoléon," Cinéa-Ciné pour Tous no. 81 (15 March Aue Ty), 260; M. G. "Quand On Tournait Napoléon," Cinéa-Ciné pour Tous no. 96 (1 November 1927), 11-13. mi : 155Tariol, p. 84. See also Jean Mitry, Delluc (Paris: Anthologie du Cinéma, January 1971), p.4. 13616 Tout Cinéma 1929 (Paris: Filma, Ta). DP. 949-954, 1457Louis Delluc, "Ce Que Mounot-Sully Pensait du Cinéma," Le Film no. 99 (4 February 1918), 6. 138 For a detailed account of the rise of the cinema in the press, consult René Jeanne and Charles Ford, Le Cinéma et la Presse 1895-1960: (Paris: Colin, 1961. 159Le Tout Cinéma 1929, pp. 949-954. 140c, de Vesmé, "Ce Que Doivent Etre le CinéClub et son Journal," Journal de Ciné-Club no. 1 (1920), YD 141 gee, for example, Tariol, pp. 33-35 and Mitry, Delivio,« pp.éi L920),