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

Page scan 000277 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 #:
000277
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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> Marcel Gromaire, "Idées d'un Peintre sur le Cinéma," Le Crapouillot (1919), reprinted in Marcel L'Her bier, ed., Intelligence du Cinémato raphe (Paris: Corréa, 1926). pp. Descour: SAthis distinction is neglected by even as exemplary a historian as Jean Mitry, who collapses the "pure film" positions of Delluc and Epstein into those of Richter, Eggeling, and Léger. See Mitry, Esthétique et Psycho logie du Cinéma (Paris: Editions Universitaires, 1963), pp. 529-540. °°For a series of exchanges in the "pure film" polemic see the following: Pierre Porte, "Le Cinéma Pur," Cinéa-Ciné pour Tous no. 52 (1 January 1926), 13; Pierre Porte, "Une Sensation Nouvelle," Cinéa-Ciné pour Tous no. 64° (1 July4926) 27-20: Henri Fescourt and J! dis: BOUCHE G, "Sensations ou Sentiments?" Cinéa-Ciné pour Tous no, 66 (31 July 1926), 14; Pierre Porte, "Musique Plastique," Cinéa-Ciné pour Tous no. 68 (1 September 1926), 22-23; Henri Chomette, "Cinéma, Art Multiple...," Cinéa-Ciné pour Tous no. 69 (15 September 1926), 9+ 10; Henri Fescourt and J. 7, Bouquet, "Sensation ou Sentiments?" Cinéa-Ciné pour Tous no. 69 (15 September 1926), 15-16; Henri Chomette "Cinéma Pur, Art Naissant," Cinéa-Ciné pour Tous no. 71 (15 October 1926, 13, Pierre Porte, "Réplique,”™ Cinéa-Ciné pour Tous no. 71 (15 October 1926), 14-15; Paul Ramain, "A la Recherche de 1l'Emotion Vraie," Cinéa-Ciné DOM mie eh re keen October 1926).,.-15. 56 See, for instance, Jean Oberlé, "Les Films Russes Censurés," Le Crapouillot (July 1928), 37-38; Ida Bantiger, "Quelques Mots sur Potemkine," Cinéa-Ciné pour Tous no. 71 (15 October 1926), 31-32; Michel Goréloff, "Comment Fut Tourné Potemkine," Cinéa-Ciné pour Tous no. 76 (1 Jan Mary 1927 palate tT, oH Phe a Pudovkin, "Construction d'un Scénario," Revue du Cinéma no. 3 (May 1929), n.p. 581.é0n Moussinac, "Mise au Point," Cinéa-Ciné pour Tous no. 97.(15 January 1928), 13-14. 29See Georges Sadoul, Le Cinéma Francais (Paris; Flammarion, 1962), p. 141, and Paul Leglise, Histoire de la Politique du Cinéma Francais (Paris: Librarie Générale de Droit et de Jurisprudence, 1970), p. 69.