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The Social Cinema of Jean Renoir

Christopher Faulkner

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Princeton University Press img Link Publisher

Geisteswissenschaften, Kunst, Musik / Theater, Ballett

Beschreibung

Reinterpreting twelve of Renoir's best-known works, Professor Faulkner attributes their qualities not to the director's unified sensibility but to varying social and historical circumstances.

Originally published in 1986.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

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Schlagwörter

Narrative, La Grande Illusion, The Spanish Earth, Criticism, Class conflict, French Left, Jean Renoir, Neocolonialism, Social relation, Nino Frank, Cinema of the United States, Melodrama, Social conscience, Paul-Henri Spaak, The Golden Coach, Private Property, Jean Gabin, Film, Henri Cartier-Bresson, Social reality, Stavisky Affair, Footage, Jacques Rivette, Julien Duvivier, Pierre-Auguste Renoir, Film industry, Thematic elements, Morality play, Satire, In Society, My Father, World cinema, Marcel Pagnol, Film noir, Post-Impressionism, Ideology, Andrew Sarris, Georges Flamant, Monsieur Verdoux, Pierre Fresnay, Luchino Visconti, La Chienne, Jacques Becker, Auteur theory, Brief Encounter, Class action, Boulevard du Crime, Horror film, Louis Aragon, Culture and Society, Jean Vigo, Jacques Brunius, Louis Jouvet, French Cancan, Contemporary society, Charles Laughton, Paul Gauguin, Film Comment, Politics, Bourgeoisie, Charles Spaak, Louis Althusser, Filmmaking, Pierre Laval, Pierre Renoir, Partie de campagne, Social criticism, Film criticism, Totalitarianism, Set piece (filmmaking)