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

Page scan 000125 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 #:
000125
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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ing comme pour la premiére fois, toutes choses sous leur angle divin, avec leur profil de symbole et leur plus vaste sens d'analogie, avec un air de vie personnelle, telle est la grande joie du cinéma. In its hinting that ideal correspondences and analogies exist between the film image and Truth, this passage Suggests the nature of the absolute realm beyond appearances that cinema can reveal. Epstein takes to its logical end the Symbolist bias of Impressionist thought in identifying the transforming capacity of the film image with an ideal transcendance, a realm of pure ideas. He writes: Essentialement l'écran généralise et détermine. Tl n'y s'agit jamais d'un soir, mais du soir et le votre en fait partie. Le visage, et j'y retrouve tous ceux que j'ai vus, fant6me de souvenirs. Au lieu d'une bouche, la bouche, larve de baisers. Chaque image devient une abstraction, quelque chose de complet, de définitif et d'universel.©2 Here is the ultimate claim for photogénie as a transformation of material reality: we experience not a coneeptual abstraction but a nondiscursive, experiential symbol embodying a realm beyond immediate sense experience. To this realm, the artist has access and uses the art work to express his or her insights into this realm. In passing, we should note the astonishing variety of assumptions revealed in some passages quoted above; they constitute a bewildering compendium of variants of that broad position known as idealism. Delluc seems to opt for a reality which is stylized and idealized through