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

Page scan 000251 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 #:
000251
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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238 films, and the work of Delluc, Gance, L'Herbier, Dulac, and Epstein), became, according to René Clair; “the manifesto of a new generation of film-makers."42 > In Moussinaec's Subsequent chapters, the influences are apparent and the landscape is familiar. Moussinae argues for the cinema as an autonomous art with its own laws and is particularly careful to distinguish it from theatre. He locates filmie beauty less in the subject than in the plasties of the image. He summarizes Delluc and Epstein on photogénie, establishes technique as the foundation of cinematic beauty, and cata of) logues cinema's expressive technical devices. He see the story as a pretext ror the images. He conceives of rhythm as a structural factor and suggests analogies between musical and cinematic rhythm. The book econeludes with a survey of American, Swedish, German, and French films, citing the by-now canonized films praised in the journals and regularly screened in the ciné-clubs and speclalized theatres. In sum, Naissance du Cinéma demonstrates that by 1925, the aesthetic position of the movement had been codified, a conelusion which vindicates those historians who dub Impressionism "the avant-garde of 1925." It is also significant that no new concepts were added to Impressionist film theory peribe athe: 1925) The Impressionist film style continued after 1924