François Truffaut referred to as him, easily, ‘the best’. Jean Renoir is a towering determine in global cinema and completely justifies this enormous survey that comes with contributions from prime foreign movie students and comprehensively analyzes Renoir’s lifestyles and profession from various serious perspectives.
• New and unique learn through the world’s best English and French language Renoir students explores stylistic, cultural and ideological features of Renoir’s motion pictures 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
• positive factors precise research of Renoir’s crucial works
• presents a world viewpoint in this key auteur’s enduring value in global movie background
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Additional info for A Companion to Jean Renoir (Wiley-Blackwell Companions to Film Directors)
To investigate Renoir’s American period further, several writers look at his six American films in some detail. Jackson embeds analyses of Renoir’s “war effort” films This Land is Mine (1943) and A Salute to France (1944) in his wider historical analysis, while Vitanza examines the production context of, in particular, The Southerner (1945) and The Diary of a Chambermaid (1946). ” Similarly, Edward Gallafent challenges the sense of disappointment elicited, for some critics, by Renoir’s American films, with a close textual analysis of The Southerner.
It then tracks backwards and tilts down to reveal part of the bookshop within which the bust is located before tracking laterally and panning to open up the rest of the space and to reveal Monsieur Lestingois (Charles Granval), the bookshop owner, and his maid, Anne-Marie (Séverine Lerczinska), in each other’s arms on the other side of the shop. Renoir’s La Grande Illusion (1937) also begins with a shot that moves out from a close-up to introduce characters in their socio-spatial context. This time the opening close-up is of a gramophone turntable flanked by two hands.
While the shot demands a reading in terms of a historically threatened collective, the character is only attentive to the personal and to the immediate. If La Règle du jeu is a film composed in deep time, it is also one about shallow, inadequate seeing. There is a celebrated shot earlier in the film when, borrowing a hunter’s spyglass, Christine inadvertently catches her husband in the arms of his lover, Geneviève (Mila Parély) and assumes that the couple are having an affair, whereas the affair is over and this is a farewell kiss.
A Companion to Jean Renoir (Wiley-Blackwell Companions to Film Directors)