A Companion to Jean Renoir (Wiley-Blackwell Companions to

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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 incorporates contributions from major foreign movie students and comprehensively analyzes Renoir’s lifestyles and profession from a number of serious perspectives.
• New and unique study via the world’s major English and French language Renoir students explores stylistic, cultural and ideological elements of Renoir’s movies in addition to key biographical periods
• Thematic constitution admits various serious methodologies, from textual research to archival examine, cultural experiences, gender-based and philosophical approaches
• gains exact research of Renoir’s crucial works
• offers a global viewpoint in this key auteur’s enduring value in global movie background

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Extra info for A Companion to Jean Renoir (Wiley-Blackwell Companions to Film Directors)

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Looking at archival evidence, Vitanza convincingly puts forward a more nuanced and micro-historical approach that conveys a sense of interconnected “sites of struggle,” similar to those that marked Renoir’s earlier time in France. To investigate Renoir’s American period further, several writers look at his six American films in some detail. Jackson embeds analyses of Renoir’s “war effort” films This Land is Mine (1943) and A Salute to France (1944) in his wider historical analysis, while Vitanza examines the production context of, in particular, The Southerner (1945) and The Diary of a Chambermaid (1946).

In a similar way, the systematic depth staging and mobile camera of Le Crime de Monsieur Lange (1936) socialize the space of the film’s unfolding, linking individuals and their trajectories to a context of class relations (Faulkner 1986: 60–65). Bazin’s analysis of Renoir’s style is, as one would expect, full of brilliant insights. Faulkner’s helps correct its neglect of the politics of style. But both tend to bypass the way in which the films of the later 1930s are inhabited by history. In his Jean Renoir, Bazin gathers together the director’s prewar films under the heading “Renoir français,” a grouping that smooths out differences between the films that preceded and those that came after 1935, the year when Renoir aligned himself with the Popular Front.

In a similar way, the systematic depth staging and mobile camera of Le Crime de Monsieur Lange (1936) socialize the space of the film’s unfolding, linking individuals and their trajectories to a context of class relations (Faulkner 1986: 60–65). Bazin’s analysis of Renoir’s style is, as one would expect, full of brilliant insights. Faulkner’s helps correct its neglect of the politics of style. But both tend to bypass the way in which the films of the later 1930s are inhabited by history. In his Jean Renoir, Bazin gathers together the director’s prewar films under the heading “Renoir français,” a grouping that smooths out differences between the films that preceded and those that came after 1935, the year when Renoir aligned himself with the Popular Front.

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