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

Page scan 000242 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 #:
000242
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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manipulation that was central to the Impressionist films. The films of DeMille, Sjostrom, Stiller, and the Germans typically made mise-en-scéne the central creative factor; pictorial qualities and meanings were dependent upon the manipulation of light, setting, costume, and spatial arrangement--"naturalistic" in the Swedish films. slight ly stylized in DeMille's work, and radically distorted in the German films. Even Ince and Griffith, whose styles placed more emphasis on editing, were praised by the Impressionists chiefly for their mise-en-sc€ne. The pictorial qualities of the foreign films, Linea not of the same order as the optical effects, subjective viewpoint shots, and camera manipulation characteristic of the Impressionist work of the time. Foreign influence was doubtless a strong initial motivating factor, but it was mediated by the ideology of the movement. Although foreign films often Sparked theoretical and polemical argument, the Impressionist movement's writings in the 1918-1922 period offer a more immediate explanation of the change in the film style. Theoretical and polemical work at the time not only responded directly to the French work and the foreign imports but also generated ideas that could be pursued in film practice. In this respect, Delluc's journals and polemical works seem crucial. Le Film, Journal de Ciné-Club, CO nN — a (a ee and Cinéa, as well as Delluc's books Cinéma et Cie and