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 #:
000255
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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ao Epstein's La Glace a Tinie Faces (1927), La Chute de la Maison Usher (1928), and Finis Terrae (1929), Renoir's Charleston (1927) and La Petite Marchande d'Allumettes (1928), Dulac's La Coquille et le Clergyman (1927), Disque 927 (1928), Thémes et Variations (1928), Germination d'un Haricot (1928), and Etude Cinégraphique sur une Arabesque (1929), Kirsanov's Menilmontant (1926), and Clair's La Tour (1928) range in length from ten minutes to an hour-short enough to be financed privately and shown as a second film at specialized theatres. More significantly, vif etine film-maker were certain that a specialized audience were to See the film, he or she could push stylistic innovation further than under the mass-market distribution system. It is thus no accident that the late Impressionist films are much more esoteric in style than the earlier ones: the assurance of an elite audience encouraged film-makers like Epstein and Dulac to make much fuckin compressed, elliptical films than they had earlier. A third factor in the stylistic diffusion of the movement operated in a more roundabout fashion. The middle and late 1920's saw new avant-garde film movements emerge: first the abstract film (after 1924) and then the Surrealist film (after 1926). Surrealism seems to have had little influence on the Impressionists; even Dulac's Coquille