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French impressionist cinema, also referred to as the first avant-garde or narrative avant-garde, is a term applied to a group of French films and filmmakers of the 1920s. Film scholars have had much difficulty in defining this movement or for that matter deciding whether it should be considered a movement at all. David Bordwell has attempted to define a unified stylistic paradigm and set of tenets. 1 Others, namely Richard Abel, criticize these attempts and group the films and filmmakers more loosely, based on a common goal of “exploration of the process of representation and signification in narrative film discourse.” 2 Still others such as Dudley Andrew would struggle with awarding any credibility at all as “movement.” 3 == Filmmakers and films (selection) == *Abel Gance (''La Dixième symphonie'' (1918), ''J’Accuse'' (1919), ''La Roue'' (1922), and above all, ''Napoléon'' (1927)) *Jean Epstein (''Coeur fidèle'' (1923), ''Six et demi onze'' (1927), ''La Glace a Trois Face'' (1928), ''The Fall of the House of Usher'' (1928)) *Germaine Dulac (''The Smiling Madame Beudet'' (1922)) *Marcel L'Herbier (''El Dorado'' (1921)) *Louis Delluc – critic/theorist *Jean Renoir (''Nana'' (1926)) 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「French impressionist cinema」の詳細全文を読む スポンサード リンク
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