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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 comes with contributions from prime foreign movie students and comprehensively analyzes Renoir’s lifestyles and profession from a number of severe perspectives.
• New and unique study via the world’s top 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 quite a number severe methodologies, from textual research to archival learn, cultural reports, gender-based and philosophical approaches
• gains specified research of Renoir’s crucial works
• offers a world 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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Oxford: Wiley-Blackwell. 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.

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. 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.

Unevenness is implicit in the whole spatial organization of a film like Le Crime de Monsieur Lange where first Lange’s bedroom, where he writes his Arizona Jim stories, and later the courtyard below are constituted as spaces whose utopian possibilities and their limits are directly related to their discontinuity with what lies beyond them. 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.

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