filmology

[title] International Bureau of Filmology ¶ When the International Film Congress met in Paris in 1947 a plan was approved for the organization of a “Bureau International de Filmologie.”

1949, Renée Jeanne Fulton, “Theatre, Film, and Radio Notes”, in The French Review, volume 22, number 3, American Association of Teachers of French, page 279

Pervy's research in filmology may eventually open wider applications of films in modern languages.

1949, Renée Jeanne Fulton, “Theatre, Film, and Radio Notes”, in The French Review, volume 23, number 2, American Association of Teachers of French, page 144

So the University of Paris set out to study the science of filmology—after Cohen-Séat's important book had given rise to an institute, a review, and a whole series of investigations.

1956, Jean Debrix, “Cinema and Poetry”, in Yale French Studies, number 17, Yale University Press, page 88

The fourth approach is that of filmology—of the scientific study conducted from outside by psychologists, psychiatrists, aestheticians, sociologists, educators, and biologists. [contrasted with film criticism, the history of the cinema, and the “theory of cinema”]

1991, Christian Metz, Michael Taylor, Film Language: A Semiotics of the Cinema, University of Chicago Press, page 90

190: According to Marc Soriano, secretary editor of the institute's review, “Before filmology, one was restricted to verifying a basic truth, that the projection of a film affected the audience. As far as how and why, that was another question. It was thus this ‘how and why’ that the nascent filmology tackled.” 198: This problem of the film spectator, which we have just begun to address, was already at the center of the filmology movement's debates during the 1950s.

1992, Jacques Aumont et al, Richand Neupert transl., Aesthetics of Film, University of Texas Press