François Truffaut referred to as him, easily, ‘the best’. Jean Renoir is a towering determine in global cinema and entirely justifies this huge survey that incorporates contributions from major overseas movie students and comprehensively analyzes Renoir’s existence and profession from various serious perspectives.
• New and unique learn by means of the world’s prime 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 examine, cultural experiences, gender-based and philosophical approaches
• good points targeted research of Renoir’s crucial works
• offers a world standpoint in this key auteur’s enduring importance in international movie heritage
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Additional info for A Companion to Jean Renoir (Wiley-Blackwell Companions to Film Directors)
Lourié, Eugène (1985) My Work in Film. San Diego: Harcourt Brace Jovanovich. O’Shaughnessy, Martin (2009) La Grande Illusion. London: I. B. Tauris. Perez, Gilberto (1998) The Material Ghost: Films and Their Medium. Baltimore: Johns Hopkins University Press. Salt, Barry (1983) Film Style and Technology: History and Analysis. London: Starwood. Sesonske, Alexander (1980) Jean Renoir: The French Films, 1924–1939. Cambridge, MA: Harvard University Press. Thompson, Kristin (1988) Breaking the Glass Armor: Neo-Formalist Film Analysis.
We will begin with the former approach. In some ways, the two shots seem to do some of the same work as more conventional and more static establishing shots by presenting the space of the action and locating characters within a broader context. Yet they are also different in important ways for they suggest a different relationship between the camera and the space. While the traditional establishing shot already knows the space it shows and offers a position of totalizing mastery, the Renoir shots only progressively discover the space, suggesting a reality that is not simply there for the camera, but which it must explore.
In the former he 22 Martin O’Shaughnessy underscores Renoir’s visionary status by suggesting that he understood better than anyone else that the screen is best understood neither as a painterly frame nor a theatrical proscenium arch but as a cache, not something that reveals reality, but which hides it, so that what is unseen is as important as what is visible. A natural complement to Renoir’s depth staging and its capacity to locate actions in their context, the lateral mobility that is so characteristic of his camera constantly reminds us that the world continues to exist on either side of the frame, that what we are seeing is part of something larger that is hidden from us.
A Companion to Jean Renoir (Wiley-Blackwell Companions to Film Directors)