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 #:
000254
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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ge: ta | independently wealthy Jean Renoir began financing his own first film. In 1926, Dulac broke with commercial films to make films on her own, Epstein founded his own company (Les Films de Jean Epstein), and Kirsanov premiered his film Menilmontant, made entirely free of studio economies. Although working for the commercial system had given the Impressionists enough maneuvering room for their experiments to coalesce into a unified style, freedom from that system encouraged each to pursue idiosyncratic lines of stylistie interest. The stylistic diffusion of ‘the movement Bi. tite years after 1925 is thus partly attributable to the greater degree of production freedom gained by the Impressionist film-makers. Related to this factor is the growth of specialized theatres in the years 1924-1929, a phenomenon which provided an alternative financial base for experimental production. An independent film could get at least a few screenings at Tedesco's Vieux Colombier or Tallier's Stadio des Urselines. The effect was twofold. First, the film was likely to be a short one, chiefly because of the smaller amount of money invested in the production. Thus the conditions of the market for screening caused most Impressionists (like their counterparts in other avant-garde movements) to make much shorter films than they had previously.