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

Page scan 000244 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 #:
000244
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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Hed pi cinéma.") Furthermore, a dialectical give-and-take between theory and practice emerged. The American films provoked Delluc to claim that film art was anchored in photogénie. in turn’, the films of Gance and L'tHerbier were clearly influenced both by American films and by the primary theoretical concept of the time, photogénie or the camera's transformation of the profilmic material. In turn, Dellue and his colleagues responded with praise for the filmmakers! efforts. "La Dixiéme Symphonie," wrote Delluc of Garice" 6 Talm\: Va 1"honneur d'étre le premier complet et le premier fini de cette période de rénouvellement cinégraphique,"18 while Diamant-Berger concluded that the brilliance of Gance proved that "Mieux vaut un homme neuf pour le cinéma qutun homme qui connait trop l'ancien cinéma."19 of L'Herbier's Rose-France Delluc remarked: "Cet impressionisme poétique est d'un virtuose."20 Although Delluc died in 1924, before the movement had run its full course, his journals continued to fulfill the influential function which he had established for then. SILlaP ly. oe was pointed out in Chapter II, the journalistic polemic of Dellue and his colleagues had a atrong..eTrect” not’ only on the establishment of ciné-clubs but also on the tastes of the auddancss which support the clubs. In sum, out of the interplay of film viewing and theoretical and polemical