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 best foreign movie students and comprehensively analyzes Renoir’s lifestyles and occupation from various serious perspectives.
• New and unique study via the world’s prime 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 a number of serious methodologies, from textual research to archival study, cultural stories, gender-based and philosophical approaches
• good points certain research of Renoir’s crucial works
• offers a world standpoint in this key auteur’s enduring importance in international movie heritage

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Extra resources for A Companion to Jean Renoir (Wiley-Blackwell Companions to Film Directors)

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Insofar as the materiality of the medium and the reception by the audience are thematized, it is an allegory of the text itself that is produced. The allegorical character of this form of metalepsis underlines that the ontological shifts that The Conceptual Frame of Reference 35 happen in Caché, Code inconnu and Benny’s Video should not just be understood as instances of simple self-referentiality as these appear now even in mainstream Hollywood productions, but indeed as a true metalepsis. In the case of Funny Games, now, the killer breaks out of the story and transgresses into the world of discourse, controlling the film itself, a clear case of an ontological metalepsis.

In films by Haneke, on the other hand, an easy identification with the main characters, although encouraged, even programmed through the aforementioned class characteristics, is hampered by the complete absence of such a psychological kernel and the absence of any marker that would allow for an easy judgment of the character. This does not mean, of course, that the characters’ actions stay unmotivated. But compared to most narrative films, even those that fall into the category of art house, Haneke’s characters barely emote.

It seems, however, that Haneke abandoned the insertion of extradiegetic music entirely. There are in Haneke, of course, instances of intradiegetic music that carries over into another shot, thereby building an ironic counterpart—the scene where La Pianiste’s classical music is playing while she is sniffing used tissues in a sex shop booth comes to mind. But the effect achieved with a contrasting of extradiegetic classical music with cheap pop is maybe too commercial, too emotional, especially concerning the murder of a child.

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