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

Page scan 000249 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 #:
000249
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.

236 significative, l'essence intime et unique de l'expression cinégraphique."34 As outlined in Chapter IIT, rhythmic editing became the Impressionists! theoretical solution to the problem of filmic construction, although none reSolved the questions about structural unity which the proposed solution raised. In the film style of the period 1923-1928, La Roue's impact was: even Stronger than it was upon film theory. The influence was immediate: at least five 192% films utilize not only Impressionist camerawork and optical effects but also rhythmic editing, and many of the decade's most celebrated films borrow freely from Gance's innovation. Mosjoukine's Le Brasier Ardent (1923) opens with a rapidly cut nightmare scene that contributed to its critical popularity. 2 The "féte foraine" sequence of eogeainte Coeur Fidéle (1923), with its rhythmic editing of shots of a country fair--games, rides, dolls--was widely praised, 2° and, as Jeanne and Ford point out, became one of the most imitated sequences in French film of the time.27 But the montage style reached its apogee fairly quickly. .As early as December of 1924, at a conference "Pour une Avant-Garde Nouvelle," Epstein warned that techniques like rapid montage had become empty fads. 38 Indeed, by 1925 the entire repertoire of Impres Slonist technique was starting to appear repetitious.