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 #:
000236
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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Od ie many firms that fresh approaches (especially in seenariowriting) were needed.4 Hence there occurred a rise in semiindependent film production (most notably under the aegis of Louis Nalpas) which favored the Impressionist filmmakers. Dulac, Delluc, and others were able to create their own small production units and borrow or rent studio facilities from Pathé, Eclipse, and Gaumont in exchange for distribution rights. Similarly, the large firms' search for new talent is exemplified in the case of Jean Epstein, who after making a short documentary for Pathé was offered a ten-year contract at two thousand francs per month. © Moreover, some films were sufficiently popular with a mass audience to allow their makers great latitude. L'Herbier worked for Gaumont until 1924, while Gance's earliest efforts were hugely profitable (Mater Dolorosa earned four times its cost, La Dixiéme Symphonie almost Six times its cost/), In a related development, film technology of the period had advanced remarkably. By 1920, extreme slow-motion and Stop-motion, superimpositions, tinting, and gauze-focus were all technically feasible for experimental use. Thus the tiidatet conditions could potentially support an avant-garde film style. The Impressionists came out of a sociocultural matrix that constitutes another general -precondition for