By Alastair Phillips, Ginette Vincendeau
Francois Truffaut referred to as him, easily, ‘the best’. Jean Renoir is a towering determine in global cinema and completely justifies this huge survey that incorporates contributions from top overseas movie students and comprehensively analyzes Renoir’s existence and occupation from quite a few severe perspectives.
- New and unique study through 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 more than a few serious methodologies, from textual research to archival examine, cultural reviews, gender-based and philosophical approaches
- Features special research of Renoir’s crucial works
- Provides a world viewpoint in this key auteur’s enduring value in global movie history
Chapter none advent (pages 1–12): Alastair Phillips and Ginette Vincendeau
Chapter 1 capturing 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 l. a. Grande phantasm (pages 121–130): Valerie Orpen
Chapter eight l. a. Bete humaine (pages 131–143): Olivier Curchod
Chapter nine l. a. 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 along with his personal Eyes (pages 177–198): Alastair Phillips
Chapter 12 renowned Songs in Renoir's motion pictures of the Nineteen 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, obvious 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 social gathering (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 below the preferred entrance (pages 395–424): Brett Bowles
Chapter 24 The functionality of background in los angeles 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 battle (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 lady 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
1 Average shot lengths of 31 films directed by Jean Renoir. modification. 8 seconds for the 1930s films. Besides the shorter takes, Renoir’s later films, for the most part, feature less camera movement than do the films of the 1930s, as numerous critics have observed. Moreover, as discussed later in this chapter, Renoir’s films after 1940, in many cases, include more music, as well as more orchestral underscoring relative to source music – unlike in the 1930s, when source music dominates. In so far as Renoir’s films after La Règle du jeu still imply the direct-sound principles of the 1930s, they do so via their adaptation to new circumstances, such as the move to Hollywood in 1940, which brought Renoir into a production regime whose sound practices differed systematically from what he had known until then.
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. Probing further, we might note how, by refusing the fragmentation associated with analytical editing, it ties individuals and small groups to a larger context, with the mobility of the camera allowing it to move close to individual emotions without ever allowing this proximity to detach the personal from the collective, as a more traditional close or medium shot might.
36 Charles O’Brien Renoir’s Career: An Overview Renoir’s long and uneven career spanned more than four decades and encompassed work in both Europe and Hollywood, and important changes in his style occurred during this time. Sound technique for any filmmaker is, in some respects, a function of the circumstances of production, and as studio infrastructure and the culture of filmmaking evolved, so did Renoir’s technique. At the same time, the simultaneous recording of sound and image remained relatively constant across Renoir’s career, beginning with his first sound films, for which direct sound was employed nearly exclusively, and continuing through to late films such as Le Déjeuner sur l’herbe (1959), whose prolific ambient sound evokes Renoir’s films of the 1930s.
A Companion to Jean Renoir by Alastair Phillips, Ginette Vincendeau