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 #:
000237
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.

224 a the emergence of their Pole etore! + Sve Chapter IT has indicated, throughout the 1910-1920 decade, cinema grew in popularity both among general audiences and among intelleetuals. In the latter circles, the Impressionist fijimmakers were decidedly at home. All had aspired to be artists-Playwrights (Gance, Delluc), musicians (Dulac, L'Herbier), poets (Epstein), actors (Clair), or belletrists (Delluc, Canudo). Thus they swam within specific intellectual currents of the time: Gance and Canudo were close friends with Cendrars and Léger; Delluc was a protege of Claudel’, as Epstein was of Cendrars; Clair was friends with Picabia and Satie. In’ thas atmosphere the Impressionist aesthetic was distilled. Despite the diversity of Such personal alliances, however, that aesthetic had a remarkably uniform consistency. Tronically, Impressionist theory had Ta ¢ete in common with that modernist avant-garde whom Roger Shab tuck delineates in The Banquet rears. As” our examination of Impressionist theory has suggested, the film-makers and writers were far more in debt to Symbolist thought than to the work of Jarry, Satie, or even Apollinaire. Dellue and Epstein provide the two most apt instances of the essentially nineteenth-century strain in Impressionism. We have already seen Symbolist assumptions in Delluc's theorizing; his activities from 1913 to 1923 are