A Companion to Jean Renoir (Wiley-Blackwell Companions to

François Truffaut known as him, easily, ‘the best’. Jean Renoir is a towering determine in international cinema and completely justifies this huge survey that incorporates contributions from major overseas movie students and comprehensively analyzes Renoir’s lifestyles and profession from quite a few severe perspectives.
• New and unique learn through the world’s major English and French language Renoir students explores stylistic, cultural and ideological elements of Renoir’s movies in addition to key biographical periods
• Thematic constitution admits various serious methodologies, from textual research to archival learn, cultural reports, gender-based and philosophical approaches
• good points special research of Renoir’s crucial works
• offers a global standpoint in this key auteur’s enduring value in international movie background

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3. L’Âge d’or (The Golden Age) France, 1930, 65 min; b&w Dir Luis Buñuel; Asst dir Jacques-Bernard Brunius and Claude Heymann; Prod Vicomte de Noailles; Scr Luis Buñuel and Salvador Dalí;7 Cinematog Albert Duverger; Music Georges van Parys and works of Mendelssohn, Mozart, Beethoven, Debussy, and Wagner, as well as a paso doble; Art dir Pierre Schildknecht; Sound Peter-Paul Brauer; Edit Luis Buñuel; Act Gaston Modot (the lover), Lya Lys (the Marquise’s daughter), Max Ernst (bandit chief), Pierre Prévert (a bandit); also Germaine Noizet, Lionel Salem, Duchange, Caridad de Lamberdesque, Llorens Artigas, Brunius, Valentine Hugo, and Paul Éluard.

In it Grémillon exploited the newly introduced RCA photophone process to develop a number of ambitious sonorization procedures. The whole first “act” of the film is set in a French Guiana jail, where Berthier has been granted a reprieve for his bravery in recent events, so opts out of an escape planned by his fellow prisoners. The soundtrack begins before the titles, with a bass chord and a ticking sound that evolve as the images open into an African-themed chant. The prisoners are being herded back into prison.

The Introduction of Sound 29 roles. Pujol participated in several films figuring later in this book, notably Théo­ dore et Cie (#24) and the Fernandel vehicle Tricoche et Cacolet (#80), both directed, as was this film, by Colombier, as well as Si j’étais le patron (#33) and the Tino Rossi vehicle Marinella. Milton, for whom he wrote this script, was short, plump, balding, bouncy, a clown, singer, and acrobat who came to the cinema from cabaret and music halls. A “resquilleur” is an uninvited guest, a gate-crasher, and he made that role his own in a number of films.

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