Start Over

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

Page scan 000113 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 #:
000113
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.

100 respect), film is "un spectacle collectif avec 1'intermédiatre d'un acteur."29 yet like the plastic arts, the filmic’ artifact “is fixed in its composition; unlike dance or music, it does not vary from one performance to another.21! Like music and dance, though, cinema unrolls in a "musical Space" since "un rythme vivant et sa répétition dans la durée la caractérisent."22 According to this position, then, film as a medium synthesizes various aspects of other media. Its distinctness as an art lies in its nencrtey "mixture" of these aspects; other mixtures, like theatre or opera, yield different arts. This strain in Impressionist thought clearly owes a good deal to Wagner's theories, not only in Canudo's manner of dividing the arts but also in the primary emphasis which falls upon cinema as a synthesis. To this synthetic conception of film art is Opposed a far more prevalent one which we may call reureret. Rather than locating films distinctness in its unique mixture of the media of other arts, the alternate tendency sees film as a single autonomous medium with powers which no other medium possesses. What Marcel L'Herbier called "cette fameuse spécificité"°) is for most ImpresSlonist film theory the tacit assumption that every art has its unique range of materials. "Tout art," writes