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

Page scan 000264 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 #:
000264
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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PO SJ Ex Germaine Dulac's definition of an avant-garde film: "tout film dont la technique, utilisée en vue d'une expression renouvelée de l'image et du son, rompte avee les tvraditions établies pour rechercher dans le domaine strietement visuel et auditif."©3 The movement placed a corresponding faith in the future of the medium. In Schémas , Dulac offered the volume as sketches for a future cinema, admitting that the avant-garde's position was not completely realized in current film practice, 64 The demand for constant stylistic renewal and advance was also characteristie of Jean Epstein, who called in 1924 for "a new avant-garde" and who a year later wrote that with the crystalization of Impressionist style, "Le style 'pompier' apparait dés que 1l'invention cesse, 65 The entire movement gives orr an exhilarating hope of further exploration that justifies René Clair's claim that "We like the cinema not so much For’ whattt" 18 as forwhat “16¢wi il be, "66 Such zeal did not prevent the movement from acquiring shortcomings which were as apparent to some contemporaries as to us today. In the first place, defining itself by negation set the movement against film-makers of undeniable quality. In particular, Feuillade and Perret were unfairly treated; ironically, today's taste finds the sober mise-en-scéne of Feuillade far more interesting than