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

Page scan 000265 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 #:
000265
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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the subjective camerawork and accelerated €adfting “ofr the Impressionists. The point was made bY a @ritfse Tin*ee 1920's, who admitted the necessity for an avant-garde but criticized the avant-garde's dismissal of excellent commercial film-makers. 67 Furthermore, by setting themselves so strongly in opposition to a “theatrical “sty 1é: the Impressionists found it hard to adapt when that style became more flexible--and, indeed, somewhat closer to the Impressionist ideal. Given their mission of stylistic and theoretical renovation, the Impressionists' exelusivity is understandable as polemic but difficult to justify from a more comprehensive critical perspective. Equally understandable--and equally shortsighted-is the contradictory view which Impressionists took of the audience. On one hand, Delluc, Clair, ‘and others'’saluted the cinema as a new popular art. Delluc wrote: "L'élite-qu'elle dit--a bien tort de ne pas s'apercevoir de 1'importance d'un tel évenément. I1 nous surgit un art populaire véritable, "68 Clair pointed out that young people were drawn to the cinema because it was the: only art that "seemed destined for all men, whatever their social class, language, or nation."69 on the other hand, Impressionist writers Stressed the need of a dedication to stylistic experiment which in turn demanded an educated audience. Paul Ramain,