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 #:
000238
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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no less revealing. In an era of flourishing avant-garde journals run by Apollinaire, Albert-Birot, Partabia:, Reverdy, and Breton, Delluec wrote for Comoedia-Illustré, the newspaper Paris-Midi, and his own film magazines. He apparently took no interest in Cubist painting or modern poetry, preferring instead the impressionism of Vuillard and the Symbolism of Verhaeren. He considered Wagner the model of musical art; Significantly, for many Symbolists Since Baudelaire, Wagner had been the paradigm of Symbolist PopSsibilities in music, and in 1914 he was the fourth mostperformed composer in Pobae One can infer from Delluc's work that Mussorgsky, Borodin, and St. Saens shared program bills with Wagner in Parisian concerts of the day, but one would never know that at the same time eb wich es L'Heure Espagnole, Jeux, Le Sacre du Printemps, and Les Choreophores were being played. Similarly, while more extreme avantgardists were going to galleries and exhibitions, Delluc. was going to the theatre. The avant-garde drama which attracted him was not that of Jarry's followers but rather the work of Lugné-Poe, who Staged such Symbolist dramas as Maeterlinck's .Pélléas et Melisande and Verhaeren's Le Cloitre.? Of the younger directors, only Jacques Copeau seems to have touched Delluc's life, chiefly because Delluc's wife played in Claudel's L'Otage under Copeau's direction. | In short,Delluc's affinities were for the Symbolist