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Symbolist transformation: The shift from stage to screen in France.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Symbolist transformation: The shift from stage to screen in France./
Author:	Johnson, Catherine Taylor.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2000,
Description:	307 p.
Notes:	Source: Dissertations Abstracts International, Volume: 62-10, Section: A.
Contained By:	Dissertations Abstracts International62-10A.
Subject:	Theater. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9994104
ISBN:	9780493012858

Symbolist transformation: The shift from stage to screen in France.
Johnson, Catherine Taylor.

Symbolist transformation: The shift from stage to screen in France. - Ann Arbor : ProQuest Dissertations & Theses, 2000 - 307 p.

Source: Dissertations Abstracts International, Volume: 62-10, Section: A.

Thesis (Ph.D.)--University of Georgia, 2000.

This item must not be sold to any third party vendors.

Symbolist artists worked in many different media. However, some art forms, like live theatre, did not always lend themselves to the abstract methods and subtle, obscure content called for by symbolist theories. For example, the heavy physicality of the stage caused artists Paul fort and Aurelien Lugne-Poe to experience awkward productions. Interestingly, the cinema was celebrated by a wide range of avant-garde artists, especially in 1920s France, specifically because of its ability to present dreamlike images without the physical, flesh and blood presence of the actor. Indeed, the very nature of the cinematic apparatus, which depends upon shadows and illusions of movement and space projected on a screen, lends itself to the symbolist aesthetic. This study examines the work of Emile Cohl, Louis Delluc, Germaine Dulac, Marcel L'Herbier, Abel Gance, and Jean Cocteau to prove that symbolism moved into the realm of the cinema. After outlining the origins of symbolism and the barriers it faced in live theatre, symbolist cinema is identified as having an author who seeks to endow the film's visual images with the same allusive qualities as symbolist poets, and as containing the themes or motifs of traditional symbolism. Next, the study follows symbolist influence through a wide range of French filmmakers, defining a subset of avant-garde practice. The study concludes that these prominent filmmakers, who have influenced the cinema throughout history, and the symbolist nature of film's construction have allowed the influences of symbolist cinema to continue into the modern era. This study systematically outlines the sort of effects symbolist strategies and ideas have had on the cinema and clarifies how to identify symbolism's influence on the cinema. While not undercutting labels like impressionism or surrealism, this study builds further our understanding of the varied influences on French film, while illustrating how those influences helped shape film practice, allowing the spirit of symbolism to live on in this more modern medium.

ISBN: 9780493012858Subjects--Topical Terms:

522973
Theater.
Subjects--Index Terms:

France

Symbolist transformation: The shift from stage to screen in France.
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245 1 0 $a Symbolist transformation: The shift from stage to screen in France.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2000
300 $a 307 p.
500 $a Source: Dissertations Abstracts International, Volume: 62-10, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
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502 $a Thesis (Ph.D.)--University of Georgia, 2000.
506 $a This item must not be sold to any third party vendors.
506 $a This item must not be added to any third party search indexes.
520 $a Symbolist artists worked in many different media. However, some art forms, like live theatre, did not always lend themselves to the abstract methods and subtle, obscure content called for by symbolist theories. For example, the heavy physicality of the stage caused artists Paul fort and Aurelien Lugne-Poe to experience awkward productions. Interestingly, the cinema was celebrated by a wide range of avant-garde artists, especially in 1920s France, specifically because of its ability to present dreamlike images without the physical, flesh and blood presence of the actor. Indeed, the very nature of the cinematic apparatus, which depends upon shadows and illusions of movement and space projected on a screen, lends itself to the symbolist aesthetic. This study examines the work of Emile Cohl, Louis Delluc, Germaine Dulac, Marcel L'Herbier, Abel Gance, and Jean Cocteau to prove that symbolism moved into the realm of the cinema. After outlining the origins of symbolism and the barriers it faced in live theatre, symbolist cinema is identified as having an author who seeks to endow the film's visual images with the same allusive qualities as symbolist poets, and as containing the themes or motifs of traditional symbolism. Next, the study follows symbolist influence through a wide range of French filmmakers, defining a subset of avant-garde practice. The study concludes that these prominent filmmakers, who have influenced the cinema throughout history, and the symbolist nature of film's construction have allowed the influences of symbolist cinema to continue into the modern era. This study systematically outlines the sort of effects symbolist strategies and ideas have had on the cinema and clarifies how to identify symbolism's influence on the cinema. While not undercutting labels like impressionism or surrealism, this study builds further our understanding of the varied influences on French film, while illustrating how those influences helped shape film practice, allowing the spirit of symbolism to live on in this more modern medium.
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