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

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 #:
000253
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.

240 rendering of Labiche's Italian Straw Hat and then to a semi-abstract documentary, La Tour (1928). Most mereurial were the changes in Dulac, who from a script by Artaud made a quasi-Surrealist film La Coquille et le Clergyman (1927), which in its dream-structure lacked the typical ImpresSionist concern with narrative. Later, Dulae's. work intersected with that of another avant-garde, the abstractfilm movement. Her later films, such as Disque 927, Thémes et Variations, Germination d'un Haricot (all 1928) and Etude Cinégraphique Sur une Arabesque (1929),°bear the influence of Léger, Eggeling, and other makers of abstract films. How can one explain such styhiatie diffusion in the movement? Apart from idiosyncrasies of temperament of the film-makers, the causes of the stylistiendiffusion inthe films of the 1926-1929 period may be found in several external factors. First, until 1924-1925, virtually all the Impressionists were either directly employed by large firms (e.g., Gance, L'Herbier, Dulac) or worked for small independent firms that offered a degree oflatitude ‘in experimentation (e.g., Delluc's work for Nalpas, Bodtedeits for Kamenka's "Albatros"). But in 1924, Gance and L'Herbier formed their own production companies (Films Abel Gance and "Cinégraphic" respectively). In the same year, the