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

Page scan 000247 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 #:
000247
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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only with the film's style and not with its story is Suggested by the pated journal reviews which found the narrative banal and maudlin. 25 Later, the film was rarely Shown in its entirety, but Canudo's Club des Amis du Septiéme Art ae Tedesco's Théatre de Vieux Colombier Screened extracts consisting of the rhythmic montage sequences. 26 In retrospect, Epstein and Dulac credited La Roue with being of central importance in adding rhythmic editing to the repertoire of subjective techniques. 27 What caused Gance's stylistic innovation is still unclear: most historians attribute his rhythmic editing in La Roue to his temperamental urge to experiment and his acquainPa tance with Griffith's work, 28 Certainly, however, Ganece's Success with the style depended partly on the studios! Thi and critics' general openness to experimentation’ (It i a measure of industrial tolerance at the time that seven years earlier, Gance's boldly experimental Polte gasDr, Tube was denied release by producers because of its distorted optical effects.) Gance has disclaimed adherence to any movement, but even apart from the Impressionist assumptions in his writings, his films partake completely of the Impressionist styhe ci cA rthe Level df the Impressionist movement as a whole, then, La Roue is not only highly typical of Impressionist Style but is also a decisive