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

Page scan 000269 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 #:
000269
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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P sy 6 Impressionist movement must consider both its short-range and long-term influence. It is apparent from this study that Impressionist writing, cultural activities, and film style had a strong immediate impact. The polemical journalism of Dellue and others attracted attention to film; the work of Tedesco, Tallier, and others created permanent showcases for films of artistic quality; the cinéBaas movement gathered a new audience for cinematic experimentation. Impressionist film theory dominated French thinking aboutthe cinema throughout the 1920's. Not only was Impressionist film style imitated by the commerclal cinema but it was paid the backhanded compliment of being reacted against by other avant-garde movements. Major film-makers were decisively influenced by Impressionism: when Jean Renoir saw Le Brasier Ardent, he decided to abandon ceramics and take up film-making; /® Marcel Carné's Firs? fi Im, Nogent, Eldorado du Dimanche is stylistically indebted to Impressionism; the pillow fight in Vigo's Zéro de Conduite was undoubted influenced by a similar scene in Gance's Napoléon and the plot and style of Vigo's L'Atalante seems a direct offshoot of Epstein's le Belle Nivernaise. As Chapter II has suggested, Impressionism's short-range effects were felt in other art media as well: poets like Soupault, Desnos, Aragon, and Cocteau, composers