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influential visual style by interpreting his films through Gilles Deleuze's film philosophy, and through previously unpublished production files, Barry Nevin provides a fresh and accessible interdisciplinary perspective that illuminates both the consistency and diversity of Renoir's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 Regle 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.
Rezensionen / Stimmen
Barry Nevin has written a compelling book that should inspire readers to (re)turn to Renoir. He fortifies his arguments with brand new research from the Renoir archives at UCLA, while also showing a wonderful interpretive eye. Indeed, his analysis of the periscope in Elena et les hommes is just one of many moments that has changed the way I look at the film in question (p. 166). And if a work of film-philosophy can change the films it has made you watch, it is truly film-philosophy worthy of the name. -- David Deamer * Film-Philosophy Volume 25, Issue 2 * Scholarly, insightful, and respectful...Nevin demonstrates that much remains to be said about the great director. This subtle and detailed book will be welcomed by all those interested in Renoir's films and in film philosophy more broadly. -- Colin Davis, Royal Holloway (University of London) * French Studies * Barry Nevin has here made a significant contribution to the densely-populated field of Renoir studies and the currently thriving world of Deleuzian film theory. The work is nourished by significant archival research and extensive interdisciplinary erudition. This is a book of great importance to all serious students of Renoir. -- Professor Keith Reader, University of London Institute in Paris
Sprache
Verlagsort
Zielgruppe
Produkt-Hinweis
Fadenheftung
Gewebe-Einband
Illustrationen
20 black and white illustrations
Maße
Höhe: 236 mm
Breite: 163 mm
Dicke: 13 mm
Gewicht
ISBN-13
978-1-4744-2629-9 (9781474426299)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Klassifikation
Barry Nevin is Assistant Lecturer in French at the Dublin Institute of Technology and Teaching Visitor in Film Studies at Trinity College Dublin. His research focuses on French cinema of the 1930s, particularly the films of Jean Renoir, Jacques Feyder and Marcel Carne. His work has been published in a wide range of academic journals including Studies in French Cinema, French Cultural Studies and the Journal of Urban Cultural Studies.
Autor*in
Assistant LecturerDublin Institute of Technology
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 sauve des eaux (1932)La Regle 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-realistes: Framing le Temps GeleIntroduction: seeing time in the image planeDiary of a Chambermaid (1946)The Golden Coach (1952)Elena et les hommes (1956)Conclusion: society and spectacle
ConclusionBibliography Appendix: Corpus Breakdown
