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French Impressionist Cinema: Film Culture, Film Theory, and Film Style (December 1974)

Page scan 000241 from French Impressionist Cinema: Film Culture, Film Theory, and Film Style

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 #:
000241
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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228 were playing in Paris--nearly all by Sjostrom and Stiller ./4 Again, it was the pictorial values of the Swedish films which were praised by Delluc, Epstein, and others. The Swedes’ use of flamboyant lighting errects and occasional a a distortions (e.g., the superimpositions in Sjostrom's Phantom Carriage) probably reinforced and encouraged certain tendencies in French film-makers! work. Pingily: on 14 November 1921, the third wave of foreign influence Struck Paris: Louis Delluc screened Weine's Cabinet of" Dr. Caligari. A spate of German films swept into France. By August of 1922, Dellue was able to cite eight such Films which had been shown recently, including Murnau's Burning Soil and Nosferatu, Lang's Destiny, and Pick's Genuine. !° Like their American and Swedish counterparts, German Expressionist and Kammerspiel films continued to be screened in Paris throughout the 1920's, and their use of a chorea settings, stylized costumes, and stark lighting exercised a marked influence on films like L'Herbier's Don Juan et Faust (1922) and El Dorado (1922) and Mosjoukine's Le Brasier Ardent (1923). In short, the foreign films which the Impressionists ranked highly were valued chiefly for Chel pictorial @udlities . Significantly, however, the American, Swedish, and German films were not characterized by the kind of camera