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

Page scan 000263 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 #:
000263
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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250 stylistic diffusion (beginning in 1926). The theoretical work of the movement does not become distinct until the 10181924 period and is codified as a position. in,i1925. ite6clFr a product of Symbolist assumptions, Impressionist theory comes by 1924 to influence the theory of the abstractfilm movement. The cultural activities of the movement begin to gather force in the 1918-1922 period, and the central institutions--journals, ciné-clubs, and specialized theatres-are entrenched by 1925 and continue throughout the decade. Significant causes for these changes may be found in external production conditions, other avant-garde movements, and innovations by individual film-makers. But as these external causes affected the growth of the movement, so too did they operate in bringing 30 to.an end around 1928. Cinema history is still to uncharted a realm for large-scale surveying to be anything but tentative. Nevertheless, it aa clear that Impressionism may be considered the first avant-garde movement in French film and, possibly, the world. It is noteworthy that the movement defined itself by opposition to most established film practice and Sought to change the medium radically. Like most avant-garde movements , Impressionism insisted on sty listic and theoretical renovation, as is apparent in