The Social Cinema of Jean Renoir

Faulkner, Christopher

doi:10.1515/9781400854738

Cited by 38 publications

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“…Increasingly, this coherence may be seen to be more crucial than the substantive features of particular moments; it is not so much a nostalgia for a specific lost historical past which is at work as a nostalgia for the phantasmatic embodiment by particular styles of the plenitude of historical periods (see also Faulkner, 1985).…”

Section: Narrative Ritual and Historymentioning

confidence: 99%

The discipline of forms: Mannerism in recent cinema

Straw

1987

Cultural Studies

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Section: Narrative Ritual and Historymentioning

confidence: 99%

The discipline of forms: Mannerism in recent cinema

Straw

1987

Cultural Studies

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“…Além disso, como Cancan francês se localizou no meio artístico de Montmartre durante a Belle Époque, o filme realizou uma dupla regressão, pessoal e social, que permitiu a Renoir retornar através da ficção ao período e local de sua infância [...] como também à inocência da França antes da Ocupação […] é simplesmente um fato que o cinema, e não apenas o cinema francês, perdeu muito quando Renoir abandonou a direção que ele buscou com tanta convicção durante os anos 1930 na França. (BERGSTROM, 1996, p. 459, tradução nossa) Ainda que identificando elementos críticos no Renoir tardio 1 , Faulkner (1986) e Burch e Sellier (2014) consideram que as referências artísticas desta fase são acionadas como formas de organizar a sociedade e trazer harmonia ao mundo. Em contraposição, também há análises que focalizam o lado crítico deste momento.…”

Section: Introductionunclassified

O artificialismo teatral e crítico de Jean Renoir em A carruagem de ouro

Mesquita¹,

Oliveira²

2020

Galáxia (São Paulo)

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Resumo O artigo investiga o filme A carruagem de ouro (1952), dirigido por Jean Renoir, buscando identificar como as escolhas estilísticas e dramatúrgicas do diretor configuram um artificialismo teatral. A partir da análise da mise-en-scène e da dramaturgia da obra, abordamos como tal artificialismo resulta em uma perspectiva lúdica e incisiva sobre as relações sociais. O aspecto teatral do trabalho é analisado a partir de elementos formais que são mais comuns no teatro (como a frontalidade dos rostos, a desnaturalização e o aprisionamento dos espaços) ou em um cinema considerado “teatral” (como as entradas e saídas laterais), preservados pelo estilo de Renoir.

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“…As Christopher Faulkner has pointed out, Renoir engaged these rapidly altering conditions in his work-a partial explanation for the fluctuating subject matter and themes of his films. 3 Renoir uses the artists who figure constantly in these films not only to raise questions of ethical responsibilities, but to express these questions in the most immediate and personal terms, by repeatedly connecting them to himself and his own situation.Before going further, it is necessary to reflect on Renoir's understanding of the artist's ontological status. Like his father, who banished the term "artist" from his vocabulary and preferred to be called a "workman-painter," 4 the filmmaker distrusted the term "art" due to its elitist connotations.…”

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Social Roles/Political Responsibilities

Musser¹

2013

A Companion to Jean Renoir

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Throughout his life, Jean Renoir-the son of a renowned painter, a onetime potter, and filmmaker -was preoccupied with the role of the artist in society. What was the artist's place in, and his/her responsibilities to, the world (but particularly to France)? Under what conditions could an artist function and do meaningful work-not only meaningful for society but for him/herself? These were ethical, moral, and political questions with which Renoir wrestled, finding no easy answers, no simple verities. Rather he was often troubled by the relationship between artist and society which he understood as a dynamic one in need of constant reconsideration. The filmmaker's exceptional struggle with this problem found multiple arenas for expression. First, Renoir made numerous pictures in which a variety of artists figure more or less prominently. This trend, evident by Tire au Flanc (1928), only concluded with Le Petite Théâtre de Jean Renoir (1970). Second, he wrote extensively about his films and the cinema; these efforts ranged from various articles first appearing in the 1920s through a column in Ce Soir in 1937-38 to his autobiography. Renoir also made a substantial number of films that adapted great works of French literature, notably Nana (1926), Madame Bovary (1934 and La Bête Humaine (1938). Here the filmmaker's respect for, and engagement with, some of nineteenth-century France's foremost artists and their works is obvious. Closely related to these adaptations, he wrote a biography about his father Pierre Auguste Renoir, which was much concerned with this question of the artist's social role. To consider the ways that Pierre Auguste Renoir handled his responsibilities as an artist provided Jean Renoir with a way to reflect on his own efforts. Since the painter profoundly shaped "the tiny details" of his daily life as well as his filmmaking 1 , Jean Renoir's biography of his father thus served as a necessary step toward the writing of his own autobiography, My Life and My Films, in which these issues recurred, albeit in somewhat muted form.This article focuses on one specific strand of Renoir's preoccupation, the representations of artists in his films, beginning with the silent farce Tire au Flanc and culminating with the black comedy La Règle du jeu (Rules of the Game, 1939). 2 These films form an arc both in his career and in his approach to this subject. During this period France experienced extreme change politically, economically, and socially. The leftist government formed in June 1924 with the electoral success of the Cartel des Gauches was undermined and then replaced in July 1926 by the return of Raymond Poincaré as premier of a Union Nationale government. The prosperity and monetary stability of the late 1920s gradually gave way to a deepening depression, the rise of Hitler, the replacement of a conservative government with the front populaire, the left government's failure to intervene in Spain, the dissolution of the Popular Front, and finally the drift toward a Second World War. As Christopher Faulkne...

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The Social Cinema of Jean Renoir

Cited by 38 publications

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The discipline of forms: Mannerism in recent cinema

The discipline of forms: Mannerism in recent cinema

O artificialismo teatral e crítico de Jean Renoir em A carruagem de ouro

Social Roles/Political Responsibilities

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