François Truffaut known as him, easily, ‘the best’. Jean Renoir is a towering determine in international cinema and entirely justifies this enormous survey that comes with contributions from prime foreign movie students and comprehensively analyzes Renoir’s lifestyles and occupation from quite a few serious perspectives.
• New and unique learn by means of the world’s best English and French language Renoir students explores stylistic, cultural and ideological points of Renoir’s movies in addition to key biographical periods
• Thematic constitution admits quite a number serious methodologies, from textual research to archival learn, cultural reviews, gender-based and philosophical approaches
• gains precise research of Renoir’s crucial works
• offers a global viewpoint in this key auteur’s enduring value in global movie historical past
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Additional resources for A Companion to Jean Renoir (Wiley-Blackwell Companions to Film Directors)
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.
When its camera mobility, figure movement, and depth staging are used to show and track chaos and disintegration, it is implicitly underscoring the impossibility of any restoration of an orderly, hierarchical society. Because it is composed in deep time and deals with collective dangers, the film calls for a type of spectatorial awareness that its frivolous, self-centered characters cannot deploy. If they perceive threats at all, they perceive them belatedly. In the shot we have been discussing, Octave not only turns too late to see Christine, but he also seems blind to the presence, at the back of the shot, of the fascistic Schumacher and the dancing phantoms, and the danger they figure.
This forward movement, an acceleration of history, is extended by shots of and from the speeding car at the beginning and end of the film. However, far from developing any sense of a predictable, linear development, these shots are highly ambiguous. They simultaneously connote progress (the triumph over capitalism) and flight (the purely local nature of this triumph and the need to escape the law). When we observe the entry of history into Renoir’s films this should not be taken to imply a teleological understanding of a predictable historical unfolding.