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Full Description
Jean Renoir is widely considered as one of the most important technical innovators and politically engaged filmmakers in cinema history. Reassessing the unique qualities of Renoir's influential visual style by interpreting his films through Gilles Deleuze's film philosophy, and through previously unpublished production files, Barry Nevin provides a fresh and accessible interdisciplinary perspective that illuminates both the consistency and diversity of Renoir's oeuvre. Exploring canonised landmarks in Renoir's career, including La Grande Illusion (1937) and La Règle du jeu (1939), the book also considers neglected films such as Le Bled (1929) and Diary of a Chambermaid (1946) to present a rounded analysis of this quintessential French auteur's oeuvre.
Contents
AcknowledgementsPreface
IntroductionTheorising Renoir's narrative style: Bazin, Faulkner, and Braudy. The future beyond the point de fuite: opening the image-temps to spaceOpen spaces / open futures: filming spatial politics Reading Deleuze on Renoir: critical opinionsDiscursive positioning: Renoir auteur
Chapter 1 - Teatro Mundi: Framing Urban Dynamics in Renoir's ParisIntroduction: Renoir, cinema and the cityLa Chienne (1931)Boudu sauvé des eaux (1932)La Règle du jeu (1939)Conclusion: Renoir's Ville-concept
Chapter 2 - From Desert to Dreamscape: Viewing Renoir's Rural Landscapes as Spatial ArenasIntroduction: opening the natural landscape to space-time Le Bled (1929)The Southerner (1945)The River (1951)Conclusion: dynamising the natural landscape
Chapter 3 - Portraying the Future(s) of the Front PopulaireIntroduction: theory and texts in contextLe Crime de Monsieur Lange (1936)Les Bas-fonds (1936)La Grande Illusion (1937)Conclusion: 'We are dancing on a volcano'.
Chapter 4 - Renoir's Crises Anti-réalistes: Framing le Temps GeléIntroduction: seeing time in the image planeDiary of a Chambermaid (1946)The Golden Coach (1952)Eléna et les hommes (1956)Conclusion: society and spectacle
ConclusionBibliography Appendix: Corpus Breakdown
