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

Page scan 000115 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 #:
000115
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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102 "adaptation").29 Just as the synthetic strain in Impressionist theory owes something to Wagner's Gesamtkunstwerk aesthetic, so does the purist conception allude to much current debate on "pure poetry." In 1920, Valéry had written of an "absolute poetry" and later had identified the problem of such poetry as that "of knowing whether one can manage to construct one of those works which may be pure of all nonpoetic elements ."59 As we shall see in ae V, the Impressionists were not to take this premise to the logical conclusion that the members of the abstract-film movement did. Nonetheless, the debate over Hage aa in poetry | doubtless had some influence on Impressionist thinking. 31 The purist position's opposition of film and theatre consists essentially of a distinction between materials, thus inserting Impressionist film theory in the "integrity of materials" tradition so bieedoad. to modern movements like Cubism, Symbolism, and Constructivism. The Impressionist assumes that the theatre is a predominantly verbal medium, while the film is primarily visual. Delluc, who attacks the presence of inter-titles in films and sees in even Gance's titles a dangerous "Gongorism,"2¢ urges that the verbal material should play a minor role: "Le texte, redisons-le, ne doit pas @étre quand l'image peut le