By Alastair Phillips, Ginette Vincendeau
Francois Truffaut referred to as him, easily, ‘the best’. Jean Renoir is a towering determine in international cinema and completely justifies this huge survey that incorporates contributions from top overseas movie students and comprehensively analyzes Renoir’s existence and occupation from a variety of serious perspectives.
- New and unique examine via the world’s top English and French language Renoir students explores stylistic, cultural and ideological elements of Renoir’s movies in addition to key biographical periods
- Thematic constitution admits quite a number severe methodologies, from textual research to archival learn, cultural reports, gender-based and philosophical approaches
- Features specific research of Renoir’s crucial works
- Provides a world standpoint in this key auteur’s enduring value in international movie history
Chapter none creation (pages 1–12): Alastair Phillips and Ginette Vincendeau
Chapter 1 taking pictures in Deep Time (pages 13–34): Martin O'Shaughnessy
Chapter 2 The Exception and the Norm (pages 35–52): Charles O'Brien
Chapter three the discovery of French conversing Cinema (pages 53–71): Michel Marie
Chapter four Renoir and His Actors (pages 72–87): Christophe Damour
Chapter five layout at paintings (pages 88–105): Susan Hayward
Chapter 6 Sur un air de Charleston, Nana, los angeles Petite Marchande d'allumettes, Tire au flanc (pages 107–120): Anne M. Kern
Chapter 7 los angeles Grande phantasm (pages 121–130): Valerie Orpen
Chapter eight los angeles Bete humaine (pages 131–143): Olivier Curchod
Chapter nine los angeles Regle du jeu (pages 144–165): Christopher Faulkner, Martin O'Shaughnessy and V. F. Perkins
Chapter 10 The River (pages 166–175): Prakash Younger
Chapter eleven Seeing together with his personal Eyes (pages 177–198): Alastair Phillips
Chapter 12 renowned Songs in Renoir's movies of the Thirties (pages 199–218): Kelley Conway
Chapter thirteen Renoir and the preferred Theater of His Time (pages 219–236): Genevieve Sellier
Chapter 14 Theatricality and Spectacle in l. a. Regle du jeu, Le Carrosse d'or, and Elena et les hommes (pages 237–254): Thomas Elsaesser
Chapter 15 French Cancan (pages 255–269): Ginette Vincendeau
Chapter sixteen Social Roles/Political obligations (pages 270–290): Charles Musser
Chapter 17 Seeing via Renoir, noticeable via Bazin (pages 291–312): Dudley Andrew
Chapter 18 Henri Agel's Cinema of Contemplation (pages 313–327): Sarah Cooper
Chapter 19 Renoir and the French Communist get together (pages 328–346): Laurent Marie
Chapter 20 “Better than a Masterpiece” (pages 347–355): Claude Gauteur
Chapter 21 Renoir and the French New Wave (pages 356–374): Richard Neupert
Chapter 22 Renoir among the general public, the Professors, and the Polls (pages 375–394): Ian Christie
Chapter 23 Renoir lower than the preferred entrance (pages 395–424): Brett Bowles
Chapter 24 The functionality of historical past in l. a. Marseillaise (pages 425–443): Tom Brown
Chapter 25 ToniA local Melodrama of Failed Masculinity (pages 444–453): Keith Reader
Chapter 26 l. a. Regle du jeu (pages 454–473): Christopher Faulkner
Chapter 27 Renoir's Jews in Context (pages 474–492): Maureen Turim
Chapter 28 Renoir's struggle (pages 493–513): Julian Jackson
Chapter 29 Interconnected websites of fight (pages 514–532): Elizabeth Vitanza
Chapter 30 The Southerner (pages 533–543): Edward Gallafent
Chapter 31 the girl at the seashore (pages 544–554): Jean?Loup Bourget
Chapter 32 Remaking Renoir in Hollywood (pages 555–571): Lucy Mazdon
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Extra info for A Companion to Jean Renoir
But there is also something radically different going on. The frame itself is no longer immutable in either its physical or its symbolic dimensions but, becoming an object of dispute between the workers and their boss, it is opened up to collective intervention. History enters the frame, one might say, as the frame enters history. At the same time, the workers enter Renoir’s cinema, not as an explanatory part of the social context, as in the shot from Toni so perceptively analyzed by Faulkner (see above), but as a collective, transformative actor.
Paris: Éditions du cerf. Deleuze, Gilles (1985) Cinéma 2: l’image-temps [Cinema 2: The Time Image]. Paris: Éditions de minuit. ” Tokyo: National Film Centre of the National Museum of Modern Art, pp. 8–10. Faulkner, Christopher (1986) The Social Cinema of Jean Renoir. Princeton: Princeton University Press. ” Film Criticism 32(2), 28–47. Kline, T. ” Oxford: Wiley-Blackwell. Lourié, Eugène (1985) My Work in Film. San Diego: Harcourt Brace Jovanovich. O’Shaughnessy, Martin (2009) La Grande Illusion.
The shot is like and unlike the shot from Boudu sauvé des eaux. 20 Martin O’Shaughnessy It resembles it in its depth staging, its use of intervening frames, and its determination to locate individual actions in social contexts. It differs in at least two important ways. First, it has much greater social density. This shows itself in its staging across different planes, its criss-crossing character movements, its multiple, interconnected actions, its shifting centers of attention and the presence in its background of a social collective, albeit a disintegrating one.