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

Page scan 000256 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 #:
000256
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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VU x et le Clergyman was denounced by its scenarist Artaud as a travesty of Surrealism. 43 The abstract-film movement, however, was not only influenced by Impressionist film style and film theory but in turn influenced Impressionism. Specifically, the abstract-film movement owes much of its stylistic impetus to CHU. tad euet rls oe debate over "pure film." Two strands of Impressionist film theory--the assumption of cinematic specificity and the analogies drawn with musical rhythm--were pursued to their ultimate eone lusion by the theory of the abstract or "pure" or "integral" film. Like the abstract-film theorists, Impressionist theorists raised the possibility of "pure rhythm," which Canudo found present in La Roue and which Moussinaec prophesied in Naissance du Cinéma. 14 Of all the Impressionist theorists, Germaine Dulac gave the strongest support for the abstract-film movement's position, for she utilized the musical analogy more insistently than most. She spoke longingly of "la symphonie visuelle que je réve d'écrire un jour, lointain hélas! Mettra en scene moins de personnages, ira plus loin dans les jeux de lumiére pure...s'@vadera de toute logique littéraire pour ne jouer comme 1a symphonie musicale avec les sensations."45 She found similar anti-literary qualities in La Roue, wherein: