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 #:
000239
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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avant-garde and not the more experimental festivities of the modern movement. Jean Epstein was more avowedly radical in his choice of allegiances than Delluc. A protégé of Cendrars, an employee of Laffitte's La Sir€éne publishing house, Epstein Weed the forms of his verse into appropriately Apollinairian shapes. Yet Epstein's aesthetic is searcely less nineteenth-century than Delluc's. In Bonjour wines Epstein suggests that cinema has the truth of dreams, that it creates phantoms of memories. Since the mind gives us reality only through symbols, he argues, film provides a quintessence, a symbol of a symbol, a doubly jieeiiied product.19 As we have seen, he ‘also claims that the cinema offers not discursive knowledge but feeling. Epstein never broke with Symbolist assumptions; he simply articulated them with more clarity than Delluc did. On the whole, Delluc and Epstein are typical of the Impressionist group in identifying their aims not with a radically modernist aesthetic but rather with the principles of Symbolist poetics. Impressionists thought and lived in an avantgarde atmosphere, many worked professionally for film Studios before the movement's homogeneous film style emerg ed. Gance directed: his first film in’ 1911, Dulac in 1916,