François Truffaut known as him, easily, ‘the best’. Jean Renoir is a towering determine in global cinema and completely justifies this enormous survey that incorporates contributions from best overseas movie students and comprehensively analyzes Renoir’s lifestyles and occupation from various serious perspectives.
• New and unique examine via the world’s best English and French language Renoir students explores stylistic, cultural and ideological elements of Renoir’s motion pictures in addition to key biographical periods
• Thematic constitution admits more than a few severe methodologies, from textual research to archival examine, cultural reviews, gender-based and philosophical approaches
• gains specific research of Renoir’s crucial works
• presents a world standpoint in this key auteur’s enduring value in international movie historical past
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Extra resources for A Companion to Jean Renoir (Wiley-Blackwell Companions to Film Directors)
Repr. in Revue du cinéma/Image et son 315: 20. Renoir, Jean (2001) Renoir, My Father, trans. Randolph Weaver and Dorothy Weaver. New York: New York Review of Books (English translation of Renoir, Paris: Hachette, 1958). PART I Renoir in Close-Up Section 1 Reassessing Renoir’s Aesthetics Section 2 Critical Focus on Selected Films Section 1 Reassessing Renoir’s Aesthetics 1 Shooting in Deep Time The Mise en Scène of History in Renoir’s Films of the 1930s Martin O’Shaughnessy Opening Shots: Approaching Renoir’s Style At the start of Boudu sauvé des eaux (1932), immediately after the short, deliberately theatrical preface, there is a typical Renoir opening shot.
These shots, although few in number, suggest something more general about the spatiotemporality of the Popular Front films. If the films are constantly connecting inside and outside, it is not because the world is a stable, unified whole that must be shown as such but because it is uneven and in flux and a movement through can mean a passage into something qualitatively different. Unevenness is implicit in the whole spatial organization of a film like Le Crime de Monsieur Lange where first Lange’s bedroom, where he writes his Arizona Jim stories, and later the courtyard below are constituted as spaces whose utopian possibilities and their limits are directly related to their discontinuity with what lies beyond them.
3 Bomier (Edmond Ardisson) and his mother (Marthe Marty) in La Marseillaise (Production: CGT (Conféderation générale du travail), Société de production et d’exploitation du film La Marseillaise). shot fades out, another shot fades in, this one with a static camera showing the volunteers marching from back of shot, forward, and past the lens. For the few seconds of the fade, it is as if the marching men were walking through and past the stationary body of Bomier’s mother. When we examine this virtuoso shot, we might be struck by how its length (almost two minutes) and complex camera movement allow the whole sequence of the group farewell to be encapsulated in a single shot.
A Companion to Jean Renoir (Wiley-Blackwell Companions to Film Directors)