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

Page scan 000259 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 #:
000259
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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U6 always cordial, as lengthy polemics and debates over “pure film" and "visual music" testify.°?°,..But some Impressionists' work was affected by the abstract films of the years 1924-1929. Bursts of rapidly edited abstract imagery within a narrative context may be found in L'Herbier's L'Inhumaine and Gance's Napoléon. Jean Epstein's Photogénies (1925), now unfortunately lost, was by all accounts a plotless, purely abstract film; later Epstein films (e.g., La Glace 4 Trois Faces and Finis Terrae) contain moments of total abstraction. Finally, as mentioned above, Germaine Dulac, whose theoretical pronouncements had Shown an affinity for the abstract-film movement, eventually made several abstract films herself. To an extent, then, the stylistic diffusion of the late 1920's owes something to the emergence of a new avant-garde movement. A final factor--indirect and difficult to gauge-in the stylistic diffusion of the Impressionist movement is the appearance of Soviet films on French screens after 1926s) Thanks) tonbéon Moussinac's "Les Amis. du Spartacus" ciné-club, Potemkin's Paris premiere was a huge critical Success, and French film journals praised the film extensively. There followed screenings of Pudovkin's Mother and The End of. 8%. Petersburg, also critically popular, and an essay by Pudovkin was translated and published. ?/