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

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 #:
000140
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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been cogently discussed by Andre Bazin,9@ but more to the deductive point are the strictures urged by Morris Weitz and Monroe Beardsley. As Weitz points out, the doctrine of purism--i.e., that "the arts ought to do what distinguishes them from each other"95--has not been justified. If there is a good reason for this view, the ImpresSionists never reveal it. Purism remains a submerged and unjustified assumption. Despite its problems, however, Impressionist film theory has a clear relationship to activities ae ateee levels of the Impressionist movement. From a diachronic perspective, the theoretical position may be seen as the product of specific interactions with the activities on the level of the film culture and with the alterations in film style. The tracing of these interactions is the business of the final chapter of this study. From the Synchronic perspective adopted in this chapter, the theory of film as an autonomous art with its own expressive resources provides Bchmis conceptual support for the polemical and cultural activities in which the Impressionists ee OES A theoretical position provides a set of general principles to which a rhetoric can appeal. Similarly, seeing photogénie and rhythm as the expressive resources of cinema offers conceptual grounding for a film style which emphasizes camerawork and rhythmic editing. (In «