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 #:
000150
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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157 in’ cultural activism’ for film's’ artistic’ status (see Chapter II) and by writers prominent in film theory (see Chapter III) were focused upon. The third external ecriterion was that defined by previous research: if a historian or critic characterized a given film as innovative, popular, ‘or’ stylistically sienificant, that fiim'was’ included. A final external criterion was availability: the film in question had to have survived and be accessible for viewing. | Occasionally, the study was limited by availability, since many films of the period have not survived in accessible’ Tiim archives; however, virtually ald ‘of ithe works considered important by contemporaries and previous researchers are still available in the Museum of Modern Art, George Eastman House, and La Cinémathéque Frangaise. On the. whole, then, it was possible to guide the course of the research by successive approximations which modified the original set of films. _ These approximations were chiefly made on the basis of internal criteria--i.e., stylistic’ features. By such criteria), Tor instance, the relevant period for stylistic study was narrowed to include chiefly the years 1918 to 1928. On ‘the other hand, internal criteria revealed that the external criterion of authorship had not included enough film-makers, and so a