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 enormous survey that incorporates contributions from major foreign movie students and comprehensively analyzes Renoir’s lifestyles and profession from quite a few serious perspectives.

  • New and unique study by way of the world’s top English and French language Renoir students explores stylistic, cultural and ideological elements of Renoir’s motion pictures in addition to key biographical periods
  • Thematic constitution admits quite a number severe methodologies, from textual research to archival study, cultural experiences, gender-based and philosophical approaches
  • Features distinctive research of Renoir’s crucial works
  • Provides a global standpoint in this key auteur’s enduring value in global movie history

Content:
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 speaking 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 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 well known Songs in Renoir's motion pictures 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 los angeles 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 l. a. Marseillaise (pages 425–443): Tom Brown
Chapter 25 ToniA nearby Melodrama of Failed Masculinity (pages 444–453): Keith Reader
Chapter 26 los angeles 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 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 info for A Companion to Jean Renoir

Example text

The same theatricality is present in La Règle du jeu, but the film is atypical because of its pessimism and the failure of renewal it figures whereby even agents of apparent transformation like airman André Jurieux (Roland Toutain) remain trapped in the crystal, caught by inert conventions (Deleuze 1985: 92–117). Deleuze’s insights into Renoir’s work are brilliant and frustrating in fairly equal measure. Not only do they point to how temporality may be inscribed in the shot, but they also imply that it may emerge, not from any one element in isolation, but from a combination of elements.

Edited by Alastair Phillips and Ginette Vincendeau. © 2013 Blackwell Publishing Ltd. Published 2013 by Blackwell Publishing Ltd. Mise en Scène of History in Renoir’s Films of the 1930s 17 quite long at about 17 seconds. The shots are also joined by the way they open a scene with a close-up of an object that colors our appreciation of what follows: the bust of Voltaire in Boudu sauvé des eaux points to the freethinking character and enlightened bourgeois status of Lestingois, while the gramophone in La Grande Illusion underscores the essentially peaceful nature of the French flyers’ hut.

But such an approach, no matter how valuable, would neglect the way in which mise en scène and other elements of the film, including of course dialogue, are used to inscribe the film’s events into a much longer-term unfolding. Although the film foregrounds the modern technologies of the radio and the airplane in its nocturnal opening sequence, it quickly introduces a much older technology in the shape of the clockwork automata collected by Robert de La Chesnaye (Marcel Dalio), Christine’s husband.

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