François Truffaut known 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 a number of severe perspectives.
• New and unique learn through the world’s major 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 more than a few serious methodologies, from textual research to archival learn, cultural reviews, gender-based and philosophical approaches
• beneficial properties special research of Renoir’s crucial works
• offers a global point of view in this key auteur’s enduring value in global movie background
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Extra resources for A Companion to Jean Renoir (Wiley-Blackwell Companions to Film Directors)
The opening shot establishes the luggage terminal very briefly before Dorothy steps into the foreground and the camera starts to follow her search for Ray ( Fig. 46) . The scene relies on singles: two-thirds of the shots show only one of the three characters . In addition, the long lenses tend to tum even somewhat distant framings into singles (Fig. 53 ) . As a result, there are twenty-two waist-up or chest-up medium shots (for example, Fig. 48) . 26 S TA GIN G A N D S T Y L E Even more surprising, more than half of the scene's shots are close -ups of Jerry, Dorothy, or Ray.
Moreover, only a few disciplines, such as art history, have developed a vocabulary for analyzing how images create their effects . This vocabulary, inevitably a technical one, comes far less spontaneously to us than the language we use to describe characters and plot. Of agents and activities we know; our commonsense psychology has given us a plen tiful repertory of ways of describing human action. Of composition and color and pat terns of movement we can say much less. In particular, to study cinematic staging is to focus on issues that, for historical reasons, have received little attention even from stu dents of cinema.
Intercutting the camera movements tracking in toward two stationary characters can be at once denotative (magnifying facial reactions) , expressive (signaling a growing tension in the scene) , and mildly decorative (creating a parallel rep etition of the stylistic device) . A passage of rapid editing can inform us that the pursuers are closing in on the hero and simultaneously express the excitement of the situation. The last examples suggest that any function of style can also yield a payoff in the viewer's response.