François Truffaut referred to 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 foreign movie students and comprehensively analyzes Renoir’s existence and occupation from quite a few severe perspectives.
• New and unique study by means of the world’s prime English and French language Renoir students explores stylistic, cultural and ideological facets of Renoir’s movies in addition to key biographical periods
• Thematic constitution admits a variety of serious methodologies, from textual research to archival learn, cultural experiences, gender-based and philosophical approaches
• positive factors specific 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)
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. It then reverses its initial track and pan to follow the squadron leader back to Maréchal behind the gramophone before tracking the other way and panning again to watch the pair as they head out of the hut.
His insights into the functioning of Renoir’s films tend to conflate the specific and the general, the concrete and the metaphoric. He makes 24 Martin O’Shaughnessy depth staging stand in for Renoir’s compositional style as a whole, without discussion of other important elements such as lateral camera mobility. Moreover, his analysis seems to refer both to real shots and to a broader, more diffuse sense of how the films frame temporality. Yet, despite these difficulties, his work does show how we might approach the temporal dimension of Renoir’s mise en scène.
Thompson, Kristin (1988) Breaking the Glass Armor: Neo-Formalist Film Analysis. Princeton: Princeton University Press. 2 The Exception and the Norm Relocating Renoir’s Sound and Music Charles O’Brien Critical literature on Renoir provides a rich insight into the director’s use of sound and in particular the aesthetic and technical possibilities and challenges of directsound shooting. Standard accounts are sometimes misleading, however, as when what had been ordinary French filmmaking is taken for an innovation unique to Renoir.