François Truffaut known as him, easily, ‘the best’. Jean Renoir is a towering determine in global cinema and entirely justifies this enormous survey that comes with contributions from major overseas movie students and comprehensively analyzes Renoir’s lifestyles and profession from various serious perspectives.
• New and unique learn by way of the world’s prime 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 a number of serious methodologies, from textual research to archival study, cultural stories, gender-based and philosophical approaches
• good points exact research of Renoir’s crucial works
• offers a global standpoint in this key auteur’s enduring value in international movie historical past
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Extra resources for A Companion to Jean Renoir (Wiley-Blackwell Companions to Film Directors)
The theatricality associated with so many of Renoir’s films is essential to the crystal’s functioning for it allows characters to try on new roles until the right one is found to enter into a new real. Thus, in films as diverse as Boudu sauvé des eaux, The River (1951), or Le Carrosse d’or (1953), characters are able to cast off ready-made, worn-out roles and liberate themselves from dead forms. 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).
This time the opening close-up is of a gramophone turntable flanked by two hands. The camera tilts up and pauses on the face of the hero, World War I pilot, Maréchal ( Jean Gabin) as he sings along with the record, and then pans right and tracks a short distance laterally to open up the space of the flyers’ hut with its casually arranged tables, relaxing, card-playing airmen, and its bar. As the hero returns left, he is allowed to exit the shot as the camera pauses to pick up his squadron leader entering the room from the other side.
In the end, as V. F. Perkins puts it in our round-table discussion of La Règle du jeu, there is also genius. Notes 1 V. F. Perkins, “La Règle du jeu: Lies, Truth, and Irresolution (A Critical Round Table),” Chapter 9 in this volume. 2 The Popular Front refers to a broad left alliance (from communists to centrists) that came to power in June 1936. While the Popular Front government headed by Léon Blum was in power for barely over a year, it introduced long-lasting social legislation and the era was marked by an unusual level of commitment by prominent intellectual and artistic figures – including Renoir.
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