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 #:
000232
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
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

CHAPTER V. A HISTORICAL PERIODIZATION AND ASSESSMENT OF THE FRENCH IMPRESSIONIST MOVEMENT Two primary assumptions have ruled the last three chapters: that history may be constructed upon a hierarchic model and that the French Impressionist movement may be seen as operating at the strata of cultural activities, film theory, and film style. The material in those chapters has been presented in a temporally static fashion. A fuller historical account, however, needs to relate these three levels temporally. This L shall. do. by clarifying causal relations within a periodization scheme. JI shall conclude by offering an estimation of the historical Signi ficance of the movement as a whole. Periodization The task of periodization of the Impressionist movement is not an easy one. Many films of the time no longer survive, and the interwoven texture of influences 1s difficult to recover... Such difficulties doubtless explain the unsatisfactoriness of previous attempts at periodization of the movement. Of the two principal essays in periodization, Dulac's "L'Avant-Garde," though full of interesting insights, distorts the fiowembnt by seeing it wholly as a prelude to the abstract-film avant-garde,