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

Page scan 000118 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 #:
000118
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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105 The result “isa unique aesthetic material which Faure calls "cineplastics." Impressionist theory as a whole Supports this insistence on the primacy of such visual aspects in film. Pierre Porte writes that the avant-garde seeks to reveal what can be done Solely by moving photographic images: "L'art du cinéma, qui est basé sur les images, ne doit s'établir que sur elles,"40 Again, Canudo underscores the importance of cineplastics in his claim that the "conte visuel fait avec des images" will be "peint avec des pinceaux de lumiére,"41 Similarly, Dulac claims that the cinema, being "uniquement visuel," must address itself solely to the eye of the spectator. 42 Cinema is made of images--unlike the theatre, which is made of dialogue. The second fundamental proposition of Impressionist film theory may then be formulated in this way: Since every art is distinct by virtue of a unique range of material constituting its medium, cinema as an art is distinct and should be treated as distinct from other arts, especially theatre, in that its primary material is moving images. The Nature of the Film Image Beth Neb tht Mla cick AM rh OR sd The specificity of the cinema is further located in an aspect of the film image which the Impressionists 7