Start Over

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

Page scan 000114 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 #:
000114
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.

101 Epstein, "édifie sa ville interdite, son domaine propre, exclusif, autonome, spécifique et hostile 4 tout ce qui n'est pas lui.24. He thus denies the synthetic conception of film by claiming that the cinema cannot do well what the, other arts: canz:."11" est-, mauvais peintre, mauvais sculp. teur, mauvais romancier."25 This purist conception of film is supported by an important subsidiary assumption of Impressionist theory: that cinema as an art must be distinguished clearly from theatre. René Doumic represents the traditional thinking when he writes that the cinema is "le théatre pour illettrés."26 In response, Impressionist film theory insists that cinema is the antithesis of theatre. "Tant qu'on pensera théAtre ou roman," writes Delluc, "tant qu-on ne pensera pas cinéma, il faudra n'éspérer que ces oeuvres bdtardes dont nos meilleurs cinématographistes accouchent laborieusement."©/ The same assumption underlies Cendrars' charge that The Cabinet of Dr. Caligari is not cinematic but theatrical. 28 Similarly, Impressionists like Dellue and Epstein attack the mise-. en scéne of Feuillade and Perret as too close to that of the stage. In its pateeae form, the anti-theatre assumption spawns such Suggestions as that of Jean Pascal for Stripping film jargon of any terms borrowed from the theater: he proposes "cinématurgie," "cinéphases" (repla cing "scenes"), and "cinématamorphose" (replacing t