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

Page scan 000112 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 #:
000112
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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99 its popularity, its mechanical nature, its technical crudeness. In response, Impressionist writers began to defend the cinema as aesthetically worthy, and the previous chapter has recounted the Struggle to establish a public disposed toward accepting film as an art. But what exactly is the nature of film art? To this question, Impressionist theory gives two answers, a minority response and a majority response. For Riccioto Canudo and Elie Fauré, cinema is an art by virtue of its synthesizing powers. Film is seen as what Canudo calls "l'art total vers lequel tous les autres, depuis toujours, ont tendu."1!/ Canudo posits 4 division of the six primary arts based on two categories: plastic arts (architecture, painting, and sculpture) and rhythmic arts (music, poetry, and dance). Film is a Synthetic art in that it can "capter et fixer les rythmes de la lumiére. L'Art Septiéme concilie ainsi tous les autres. Tableaux en mouvement. Art plastique se développant selon les normes de 1'Art Rhythmique. "18 Thus cinema becomes a Wagnerian Gesamtkunstwerk and a painter-poetmusician becomes the ideal cinematic ae B1ié Faure, although claiming that cinema is too recentlyborn an art to.be def tnitivety classified, also stresses cinema's fusing power. Like theatre (but only in this