François Truffaut known as him, easily, ‘the best’. Jean Renoir is a towering determine in international cinema and entirely justifies this huge survey that comes with contributions from top foreign movie students and comprehensively analyzes Renoir’s existence and profession from a variety of serious perspectives.
• New and unique study 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 a number serious methodologies, from textual research to archival learn, cultural reports, gender-based and philosophical approaches
• beneficial properties unique research of Renoir’s crucial works
• offers a world point of view in this key auteur’s enduring importance in global movie heritage
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Extra resources for A Companion to Jean Renoir (Wiley-Blackwell Companions to Film Directors)
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. 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.
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. The sequence in La Grande Illusion when Maréchal and Rosenthal pass through the battlements, turning an observation post into an escape route and opening up a space of freedom where no such thing seemed possible is one such moment. 4 Lantier’s ( Jean Gabin) future already mapped out for him, in La Bête humaine (Production: Paris Film Production (Robert Hakim)).
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. We have noted how the crystal’s capacity to hold different possibilities in tension can most obviously be connected to depth staging and the way it lends itself to complex compositions. Yet, the capacity of characters to enter and leave the crystal, to try on new roles and cast off old ones also points to how figure movement, costume, and decor (elements which we will draw upon later) may give temporal depth to the image.
A Companion to Jean Renoir (Wiley-Blackwell Companions to Film Directors)