دانلود کتاب A Companion to Jean Renoir

Francois Truffaut called him, simply, ‘the best’. Jean Renoir is a towering figure in world cinema and fully justifies this monumental survey that includes contributions from leading international film scholars and comprehensively analyzes Renoir’s life and career from numerous critical perspectives.New and original research by the world’s leading English and French language Renoir scholars explores stylistic, cultural and ideological aspects of Renoir’s films as well as key biographical periodsThematic structure admits a range of critical methodologies, from textual analysis to archival research, cultural studies, gender-based and philosophical approachesFeatures detailed analysis of Renoir’s essential worksProvides an international perspective on this key auteur’s enduring significance in world film historyContent: Chapter none Introduction (pages 1–12): Alastair Phillips and Ginette VincendeauChapter 1 Shooting in Deep Time (pages 13–34): Martin O'ShaughnessyChapter 2 The Exception and the Norm (pages 35–52): Charles O'BrienChapter 3 The Invention of French Talking Cinema (pages 53–71): Michel MarieChapter 4 Renoir and His Actors (pages 72–87): Christophe DamourChapter 5 Design at Work (pages 88–105): Susan HaywardChapter 6 Sur un air de Charleston, Nana, La Petite Marchande d'allumettes, Tire au flanc (pages 107–120): Anne M. KernChapter 7 La Grande Illusion (pages 121–130): Valerie OrpenChapter 8 La Bete humaine (pages 131–143): Olivier CurchodChapter 9 La Regle du jeu (pages 144–165): Christopher Faulkner, Martin O'Shaughnessy and V. F. PerkinsChapter 10 The River (pages 166–175): Prakash YoungerChapter 11 Seeing with His Own Eyes (pages 177–198): Alastair PhillipsChapter 12 Popular Songs in Renoir's Films of the 1930s (pages 199–218): Kelley ConwayChapter 13 Renoir and the Popular Theater of His Time (pages 219–236): Genevieve SellierChapter 14 Theatricality and Spectacle in La Regle du jeu, Le Carrosse d'or, and Elena et les hommes (pages 237–254): Thomas ElsaesserChapter 15 French Cancan (pages 255–269): Ginette VincendeauChapter 16 Social Roles/Political Responsibilities (pages 270–290): Charles MusserChapter 17 Seeing through Renoir, Seen through Bazin (pages 291–312): Dudley AndrewChapter 18 Henri Agel's Cinema of Contemplation (pages 313–327): Sarah CooperChapter 19 Renoir and the French Communist Party (pages 328–346): Laurent MarieChapter 20 “Better than a Masterpiece” (pages 347–355): Claude GauteurChapter 21 Renoir and the French New Wave (pages 356–374): Richard NeupertChapter 22 Renoir between the Public, the Professors, and the Polls (pages 375–394): Ian ChristieChapter 23 Renoir under the Popular Front (pages 395–424): Brett BowlesChapter 24 The Performance of History in La Marseillaise (pages 425–443): Tom BrownChapter 25 ToniA Regional Melodrama of Failed Masculinity (pages 444–453): Keith ReaderChapter 26 La Regle du jeu (pages 454–473): Christopher FaulknerChapter 27 Renoir's Jews in Context (pages 474–492): Maureen TurimChapter 28 Renoir's War (pages 493–513): Julian JacksonChapter 29 Interconnected Sites of Struggle (pages 514–532): Elizabeth VitanzaChapter 30 The Southerner (pages 533–543): Edward GallafentChapter 31 The Woman on the Beach (pages 544–554): Jean?Loup BourgetChapter 32 Remaking Renoir in Hollywood (pages 555–571): Lucy Mazdon