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

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 #:
000270
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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oor like Honegger and Milhaud, and graphic artists like MalletStevens and Léger reveal the impact of the movement in their 1920's works. Outside France, the influence of Impressionism was felt strongly in the burgeoning school of Soviet cinema. Before 1925, Jay Leyda has recorded, Gance was the most respected French director. // ImpresSionist theory was also available to the Soviets, with Delluc's Photogénie being published in Moscow in 1924 and MousSinac's Naissance du Cinéma being published in Leningrad in 1926.78 around 1926, Ilya Ehrenburg brought to Moscow several extracts from avant-garde films by Gance, Clair, Epstein, Renoir, and Kirsanov; there is a strong possibility that these extracts had an effect on such films as Eisenstein's October and Pudovkin's End :of St... Petersburg ¢( both 1927), which exhibit an accelerated rhythmic editing not prominent in previous Soviet work. /9 Moreover, ee has reported that Eisenstein told him that La Roue was assiduously studied by all novice Soviet directors.89 In short, Impressionism's influence was considerable not only in | France but also, probably, in Soviet Russia. Impressionism has exercised long-range effects as well. The journals, ciné-clubs, and specialized theatres which it engendered long outlasted the movement itself. Impressionist theory played a decisive role in establishing what Victor Perkins in Film as Film (London:Penguin, 1972)