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 #:
000230
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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Notes Irucien Goldmann, "Genetic-Structuralist Method in the History of Literature," in Berel Lang and Forrest Williams, eds., Marxism and Art (New York: McKay, 1972), Ova, Morris Weitz, "The Role of Theory in Aesthetics," in Holley Gene Duffield, Problems in Criticism of the Arts (San Francisco: Chandler, 1968), pp. cle-o25. See also William E. Kennick, "Does Traditional Aesthetics Rest on a Mistake? in Duffield, 191-211. “JLudwig Wittgenstein, Philosophical Investigations, trans. by G. E. M. Anscombe (New York: MacMillan, 1953), te eS a Baad 4Monroe C. Beardsley, Aesthetics: Problems in the Philosophy of Criticism (New York: Harcourt, Brace, 1950), pp. 166-167. Ayia... pi 168: 6For discussions of the concept of "motivation," see Lee T. Lemon and Marion J. Reis, eds., Russian Formalist Criticism (Lincoln: University of Nebraska Press, 1965), TJean Mitry, Esthétique et Psychologie du Cinéma, vol. II (Paris: Editions Universitaires, 1965), pp. 01-79. 8See, for example, Marcel Martin, Le Langage Cinématographique (Paris: Editions du Cerf, 196°), pp. e/-52e, and A. Ayfre, Le Cinéma et la Poi Chretienne (Paris: Fayard, 1960), pp. 59-64. INoel Burch has closely analyzed the use of fram ing and camera movement in L'Argent. See his Marcel L"Herbier (Paris: Seghers, 1973), pp.: 129-162. 10Germaine Dulac, "L'Avant-Garde," in Henri Fescourt, ed., Le Cinema (Paris: Editions dy Cygne, 1932), p. 364) ne 1tQuoted in Burch, Marcel L'Herbier, pp. 62-63.