François Truffaut known as him, easily, ‘the best’. Jean Renoir is a towering determine in global cinema and entirely justifies this huge survey that incorporates contributions from best foreign movie students and comprehensively analyzes Renoir’s existence and occupation from a variety of severe perspectives.
• New and unique study by way of the world’s top English and French language Renoir students explores stylistic, cultural and ideological facets of Renoir’s motion pictures in addition to key biographical periods
• Thematic constitution admits a number of severe methodologies, from textual research to archival study, cultural reports, gender-based and philosophical approaches
• good points distinct research of Renoir’s crucial works
• presents a world viewpoint in this key auteur’s enduring importance in global movie heritage
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Additional info for A Companion to Jean Renoir (Wiley-Blackwell Companions to Film Directors)
Attention to the mundane rather than the bravura might seem to distract from the exhilaration that Renoir’s filmmaking so often produces. However, I would suggest that our exhilaration can be even greater if we are attentive to the type of stylistic transformation that occurs when his films open up to history and the world loses its reassuring yet deadening solidity. Note 1 The shot in Boudu sauvé des eaux is able to take place only because the floor of the Lestingois house was built by Jean Castanyer and Hugues Laurent as a single connected set and not as a series of separate rooms to be conjoined through editing.
It is the loss of this unevenness that marks a shift in La Bête humaine: the omnipresence of the railway through windows or doors suggests a closing down of the space of the imagination and the loss of the possibility of a transformative passage through. The Loss of Solidity One of the consequences of the opening of the films to history is that the on-screen world loses its solidity and fixity. We see this, for example, when the characters in Le Crime de Monsieur Lange reopen Charles’s window and change the spatial 32 Martin O’Shaughnessy relationships of the setting.
It comes during the famed concert party sequence as the chaos builds and the bourgeois collective brought together for the concert dissolves into chaos and individuals and couples pursue their own aims. It begins just under one hour and four minutes into the film when Octave, played by Renoir himself, enters the chateau gun room in the bear costume he has put on for the entertainment. As he walks forward toward the camera, moving from long to medium shot in the process, we see, past his body and through two door frames, both the receding backs of the jealous gamekeeper Schumacher (Gaston Modot) and his flighty wife, Lisette (Paulette Dubost), and figures dressed as ghosts that have descended from the concert stage to move among the audience.