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French filmmakers of the 1920s emphasized visual style rather than narrative continuity, which was already dominant in the United States and elsewhere. Some critics have asserted that since these films flout the cinematic conventions of Hollywood, they should be regarded as important modernist cinema. While a welcome departure from the traditional denigration of 1920s French cinema, this claim overestimates or distorts the achievement of such directors as Gance and L'Herbier, since the Hollywood conventions they did not use were not yet fully established in France, where the Hollywood-style production practices that would have supported these conventions were lacking. Moreover, though 1920s French films should indeed be judged by criteria other than those underlying the Hollywood aesthetic, their slighting of Hollywood conventions does not, by itself, make them modernist or genuine revolutionary, since the weight of nineteenth-century traditions of art and literature on these films—especially in subject matter and ideological assumptions—cannot easily be disregarded.

The author of the passage states which of the following about the French cinema of the 1920s?

A.The visual style of the films is more indebted to Hollywood conventions than many critics recognize.
B.The achievements of the films in terms of visual style might have been greater if the directors had had the production resources available in Hollywood.
C.The content and ideology of the films were influenced by nineteenth-century art and literature.
D.The films would have been more successful aesthetically had their conventional subject matter not been at odds with their unconventional visual style.
E.The influence of nineteenth-century art on the visual style of the films differentiates them from Hollywood films of the same era.

C显示答案

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