Space of ‘esprit de corps’: Representation of People and Class in Renoir's Le Crime de Monsieur Lange (1936) and Le Grand Illusion (1938)
0
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
Renoir is considered as a master for his symbolic use of space. Infused by his strong political view, space in Renoir's films is predominantly employed to portray the themes and messages that are laden with social criticism. His 1930s films, in particular, empowered by the Popular Front movement (1936-1937) feature such tendency along with existing political tension and anxiety. The space in these films directly responds to the cultural and social conditions at particular historical moment. The two films produced around this time – Le Grand Illusion (1938) and Le Crime de Monsieur Lange (1936) – stand out the most for their spatial representation of ideology and culture of the time, which require more complex dimension in analyzing, rather than merely viewing them from the director's world view. Often, such spatialization is involved with conceptualization of community and human relationships within. Renoir's films predominantly focus on people rather than on a person. In his films, one person's thought or behavior is not complete and meaningful as much it is as ‘a whole’. Imbued with the Popular Front spirit, his emphasis on community prevails throughout these films. In this paper, I explore how Renoir configures and ‘promotes’ such effect through spatialization of the community spirit – esprit de corps especially in his two films, Le Grand Illusion (1938) and Le Crime de Monsieur Lange (1936) constructed amidst of the movement. Furthermore, Renoir's frequent use of distinctive techniques such as long takes and deep focus will be analyzed to unravel how these cinematic techniques are utilized to maximize the visual effects of human relations corresponding to the space.
Abstract
Renoir is considered as a master for his symbolic use of space. Infused by his strong political view, space in Renoir's films is predominantly employed to portray the themes and messages that are laden with social criticism. His 1930s films, in particular, empowered by the Popular Front movement (1936-1937) feature such tendency along with existing political tension and anxiety. The space in these films directly responds to the cultural and social conditions at particular historical moment. The two films produced around this time – Le Grand Illusion (1938) and Le Crime de Monsieur Lange (1936) – stand out the most for their spatial representation of ideology and culture of the time, which require more complex dimension in analyzing, rather than merely viewing them from the director's world view. Often, such spatialization is involved with conceptualization of community and human relationships within. Renoir's films predominantly focus on people rather than on a person. In his films, one person's thought or behavior is not complete and meaningful as much it is as ‘a whole’. Imbued with the Popular Front spirit, his emphasis on community prevails throughout these films. In this paper, I explore how Renoir configures and ‘promotes’ such effect through spatialization of the community spirit – esprit de corps especially in his two films, Le Grand Illusion (1938) and Le Crime de Monsieur Lange (1936) constructed amidst of the movement. Furthermore, Renoir's frequent use of distinctive techniques such as long takes and deep focus will be analyzed to unravel how these cinematic techniques are utilized to maximize the visual effects of human relations corresponding to the space.
참고문헌 (18)
- "Collapsing Columns: Mise-en-scene in Boudu"[URL]
- Andrew, Dudley, "Mists of Regret" (1995), Princeton University Press
- Bazin, Andre, "Jean Renoir" (1971), Simon and Schuster
- Benjamin, Walter, "The Work of Art in the Age of Mechanical Reproduction in Illuminations" (1969), Knopf Doubleday Publishing Group
- Bergson, Henri, "The Creative Mind : An Introduction to Metaphysics" (1965), Little Field, Adams & Co
- Braudy, Leo, "Jean Renoir: The World of His Films" (1972), Double and Company etc
- Bush, Lyall, "Feminine Narrative and the Law in Renoir's Le Crime de M. Lange", Cinema Journal, 29(1) (1989)
- Deleuze, Gilles, "Cinema I: Movement Image" (1986), University of Minnesota Press
- Deleuze, Gilles, "Cinema II: Time Image" (2000), Continuum Books
- Durgnat, Raymond, "Jean Renoir" (1976), University of California Press
- Elsaesser, Thomas, "Film Theory: an Introduction through the senses" (2009), Routledge
- Faulkner, Christopher, "The Social Cinema of Jean Renoir" (1986), University of Princeton Press
- Hawthorne, Nathaniel, "The Scarlett Letter" (1893), Columbia University Press
- Friedberg, Anne, "The Virtual Window" (2009), MIT Press
- "Social Roles / Political Responsibilities: Jean Renoir's Search for Artistic Integrity, 1928-1939"[URL]
- O'shaughnessy, Martin, "Jean Renoir" (2000), Manchester University Press
- Sesonske, Alexander, "Jean Renoir, The French Films: 1924-1939" (1980), Harvard University Press
- Tifft, Stephen, "The Politics of Space in the Films of Jean Renoir", Theatre Journal, 39(3)