By Alastair Phillips, Ginette Vincendeau
Francois Truffaut referred to as him, easily, ‘the best’. Jean Renoir is a towering determine in international cinema and entirely justifies this enormous survey that incorporates contributions from prime foreign movie students and comprehensively analyzes Renoir’s lifestyles and occupation from various serious perspectives.
- New and unique examine through the world’s prime 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 reviews, gender-based and philosophical approaches
- Features specified research of Renoir’s crucial works
- Provides a global standpoint in this key auteur’s enduring importance in global movie history
Chapter none advent (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 well known 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 tasks (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 occasion (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 less than the preferred entrance (pages 395–424): Brett Bowles
Chapter 24 The functionality of historical past in los angeles Marseillaise (pages 425–443): Tom Brown
Chapter 25 ToniA neighborhood 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 conflict (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 resources for A Companion to Jean Renoir
With its hierarchical upstairs–downstairs organization and its Watteau murals (Lourié 1985: 61–66), it would seem to promise the possibility of a flight into an older, more stable social order. The chronological depth built into the props and decor of the film thus invites us to read its mise en scène historically and not simply socially. The shot we have been looking at is more complex than anything in Boudu sauvé des eaux, not Mise en Scène of History in Renoir’s Films of the 1930s 21 simply because of its more complicated staging but also because of its composition in deep time.
That is initially restricted to Lange’s room spreads into Batala’s office, the courtyard, and, via the distribution of the Arizona Jim comic book, into the broader space of Paris. The decor of the film becomes fluid to permit a progressive expansion of the ideals behind the worker’s cooperative. A similar flux is found in the mise en scène of Les Basfonds: when it begins, its hero, Pépel ( Jean Gabin), a thief, is part of the misery of the lower depths while the man who will become his friend, the baron (Louis Jouvet) is associated with the spacious opulence of the ministry where he works, his house, and the casino where he likes to gamble.
Representatives of a society unable to renew itself or to face up to external threat, they become phantoms, visual manifestations of their own lack of a future. There is an astute piece by Jean Douchet (1996) in which he discusses the importance of windows and doors in Renoir’s films, suggesting, essentially, that by looking onto something different the window lends itself to a mental passing through, while the door, a space of physical movement, constantly lends itself to real transitions. What Douchet does not discuss, no doubt because they are so rare, are those moments when windows, or their equivalent, are turned into improvised passageways and imagined possibilities are turned into concrete realities.
A Companion to Jean Renoir by Alastair Phillips, Ginette Vincendeau