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

Page scan 000248 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 #:
000248
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
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

DN ae | mn influence on subsequent film style and film theory. La Roue made rhythmic editing a significant aspect of Impressionist film theory and film style. Before 1922, theorists did not see editing as a Significant technical dimension. Delluc's essays emphasized plot and mise-enscéne, at one point scoffing at the idea that a film company could value an editor more highly than a director.°9? Diamant-Berger's volume Le Film (published in 1919) eonSidered editing solely as a procedure for joining scenes and sequences. A writer in Journal du Ciné-Club criticized Intolerance's crosscutting of different epochs and ignored its cumulative rhythmic montage. 29 Cinematic rhythm was conceived of as the tempo ruling individual shots rather than the rhythmic relations among shots. But after La Roue, rhythmic editing was quickly recognized for its expressive potential, . In @°1923 interview, Gance made his premise explicit: "La valeur du cinéma ne réside pas dans la photographie sur les images, mais dans le rythme, entre les images, et dans l'idée, derriére l'image..."9! Canudo wrote of "le rythme déja établi par le jeu des 'plans,'32 and Moussinac devoted an entire 1923 article to the subject of "rythme cinégraphique."25 Later Dulac echoed Gance: "Le mouvement et les rythmes restent, en tout cas, méme dans une incarnation plus materielle et