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Copyrighted Material Index All title references are to films unless otherwise indicated accents lectures, “Cinéma et société,” 316 inclusion, 75–76 and The River, 313, 323–324 Southern, 76 Aguet, William, 59 acceptance, philosophy of, 322, 325, “À la belle étoile” (song), 207–210 326 Aldrich, Robert, 43 actor Algeria, 463, 464 art of, 73–85 alienation, 567 capturing performance, 77–79 Althusser, Louis, 380 as central to aesthetic, 75 Altman, Georges, 334, 386, 486 as co-author, 82–83 Amazing Mrs. Holliday, The, 522 actor-network theory (ANT), 471n.2 American cinema, championing, 377 Actors’ Studio, 84 American films of Renoir, 514–529 adaptation, 303–309 as interlude, 388 see also theatrical adaptations “strangeness,” 514–515 “Addiu o Nna Maria” (song), 446, 451 An American in Paris (Minnelli), 261, 380, Adieu Philippine (Rozier), 364 550 aesthetic of discrepancy, 73–75 L’Amour à vingt ans (Ishihara et al.), 362 aesthetics, 3–4 analytical editing, 17 to politics from, 403–410 Andersen, Hans Christian, 113–114 Agee, James, 544 Anderson, Judith, 74 Agel, Henri COPYRIGHTEDAnd GodMATERIAL Created Woman see Et Dieu … approach to cinema, 313, 314–316 créa la femme’ books André, Jean, 100–101 Le Cinéma a-t-il une âme?, 317 Andrew, Dudley, 385–386, 402–403, 515 Le Cinéma et le sacré, 318 Andrex Poétique du cinéma, 315 in La Marseillaise, 415 A Companion to Jean Renoir, First Edition. Edited by Alastair Phillips and Ginette Vincendeau. © 2013 Blackwell Publishing Ltd. Published 2013 by Blackwell Publishing Ltd. 0001975657.INDD 592 3/20/2013 7:22:22 PM Index 593 performance style, 70 cultural, 206 in Toni, 446 improvised, 76 Angèle (Pagnol), 70, 405, 445 average shot lengths (ASLs), 36–37, 42 animals, inclusion, 76–77 aviation, 162 Anna Christie (Brown), 547 L’Avventura (Antonioni), 375 Antonioni, Michelangelo, 375 Ayfre, Amédée, 316, 318, 326n.2 Anschluss, 458 antifascism, 329, 331, 463, 506, 520 babies, inclusion, 76 Antik, Alan, 507 Baby’s Laxative see On purge bébé anti-Semitism, 9, 159–160, 459, 474–491 Baccara (Mirande), 150 “apache dance” (valse chaloupée), 202, Bachelet, Jean, 180, 184 216 Baisers volés (Truffaut), 360, 361 apperception, 113, 117 Bal Mabille, 111 apportionment, 537–538 Bardot, Brigitte, 81, 265 Aragon, Louis, 331 Bataille, Sylvia cultural patriotism, 331–332 in Le Crime de Monsieur Lange, 81, 266 on La Marseillaise, 332 in Partie de campagne, 66, 297, 384 Renoir and, 331, 333–334, 372, 399 Bataillon du ciel (novel), 509 speeches, 331, 335 Baugé, André, 39 Archimbaud, Antoine, 41 Bazin, André Ardisson, Edmond, 415, 431–432, 440 on adaptation, 303–309 Armes, Roy, 383 advocacy for Renoir, 378–379, 387–388 Army of Shadows see L’Armée des ombres books Arnoul, Françoise, 256, 258 Jean Renoir, 2, 3, 358, 378–379 art, and politics, 248–250, 410–415 Qu’est ce que le cinéma?, 292, 293, 378 art cinema, direct sound in, 49 on Le Crime de Monsieur Lange, 401, 407, artificial, interplay with natural, 309–310, 409 381, 468 essays artificiality, 88–89, 103 “Cinematic Realism and the of society, 247 Italian School of the artists (in Renoir films), 270–288 Liberation,” 294 in army of revolution, 283–285 “Découpage,” 300–301 disempowered, 285–288 “French Renoir, The,” 293 as good for nothing, 271–274 “Les deux époques de Jean marginalized and silenced, 274–278 Renoir,” 294 in reserve army of labor, 279–280 “Montage,” 307 as savior, 280–282 on filters, 295 in wartime, 282–285 on framing in Renoir, 295–301 arts, filmmaking and, 5–6 on reality, 167, 173, 174, 294–295, 317 Ascenseur pour l’échafaud (Malle), 365 and La Règle du jeu, 149, 467 asparagus, 468–469 on Renoir as moralist, 317 Astor, Junie, in Les Bas-fonds, 67 on Renoir’s American films, 334–336, 528 L’Atalante (Vigo), 58, 61, 70, 381 on Renoir’s style, 21–22 Aubert Palace cinema (Paris), 351–352 and River, The, 166–174, 313, 323 Autant-Lara, Claude, 96 Truffaut and, 358–359, 361, 379 authenticity, 59, 417 writing in, 301–303 0001975657.INDD 593 3/20/2013 7:22:22 PM 594 Index Becker, Jacques, 43, 399, 406, 483, 527 depth staging, 18–19, 24–25 Bed and Board see Domicile conjugal ending, 24 Belot, François, 456 filmographic details, 576 belote, 456–457 ideology, 228–229, 231 Bennett, Joan, 545–547, 549, 551 interior scenes, 61 Bergman, Ingmar, 370 male desire, 446 Bergstrom, Janet, 517, 553n.9 misreading, 278 Berlin, in 1930s, 208–209 music, 192, 278 Berry, Jules narrative, 226–228, 566 accent, 65 opening shot, 16–20 in Le Crime de Monsieur Lange, 409 Pan and nymph scene, 566 Bertin, Célia, 384, 401 prologue, 227 Berubet, Magdelaine, performance remake see Down and Out in Beverly Hills styles, 75 scene changes, 42 Beylie, Claude, 499–500 self-presentation in, 380 Bickford, Charles, 545, 547 shifting frames, 24–25 Bicycle Thieves see Ladri di biciclette shot-type percentages, 40 BiFi film library, 134 social relations narrative, 566, 568–569 Billancourt studio, 38–41 songs, 278, 279 see also Boulougne studio; Boulogne- soundtrack, 231 Billancourt studio as star vehicle, 444 Billard, Pierre, 444–445 street-shooting, 381 binoculars, views through, 160 success, 234 Bitch, The see La Chienne theatrical staging in, 295 Black Narcissus (Powell and visual fantasy, 231 Pressburger), 382 Boudu sauvé des eaux (play), 226–228, Blanchar, Pierre, 527 230–231, 234 Blavette, Charles boulevard plays, 61–62, 110, 224, 226 in Toni, 64, 405, 445–446, 451 central theme, 227 in La Vie est à nous, 73 Boulogne-Billancourt studio, 254 Bleustein-Blanchet, Marcel, 467 see also Billancourt studio; Boulogne Blum, Léon, 280, 486 studios Blum–Byrnes Agreements, 334, 527 Boulogne studios, 100 Boitel, Jeanne, in Chotard et Cie, 233 see also Billancourt studio; Boulogne- Borel, Suzanne, 352 Billancourt studio Bost, Pierre, 410 Bourgoin, Jean, 83 Boudu (Jugnot), 556 Boyer, Charles, 501 Boudu sauvé des eaux (Boudu Saved from Brando, Marlon, 81 Drowning), 60–61, 226–231 Brassaï, Georges, 194 animal sequences, 77 Braudy, Leo, 383–384 artisanal approach, 404 Braunberger, Pierre, 38–39, 53, 113, 292, artist portrayal in, 274, 277–278, 280 384, 404 Chotard et Cie compared with, 233–234 Braunberger–Richebé, 38–40 cinematography, 186, 191–193 Brecht, Bertolt, 56, 208–209, 242, 381, 506 community endorsement, 562 Breen, Joseph, 563, 565 as continuation of La Chienne, 277 Breen, Thomas, in The River, 170, 174n.2 critical reception, 230 Brialy, Jean-Claude, 359, 372 0001975657.INDD 594 3/20/2013 7:22:22 PM Index 595 Bride Wore Black, The see La Mariée était en Céline, Louis-Ferdinand, 484–485 noir censorship, 137–138, 352–354, 560–565 bridge, 457 during occupation, 334, 353–354 Brief Encounter (Lean), 375 elimination proposed by Renoir, 411 Brouquier, Marius, 63 Centre culturel du cinéma et de la Bruant, Aristide, 206 télévision de Lyons, 316 Brunius, Jacques B., 381 Cervoni, Albert, 340, 341, 343 in Partie de campagne, 66 Ce soir (newspaper), 331, 336, 399, 495 Buchsbaum, Jonathan, 402 “C’est la nuit de Noël” (song), 207 Buffet, Eugénie, 206, 258–259 Cézanne, Paul (son of painter), 182, 497, Buñuel, Luis, 318, 556 515, 526 Burch, Noël, 387, 408 CGT, 280, 285, 412–413 Burguet, Henry, 226 Chabrol, Claude burlesque, American, 223 as director, 370 Burning Giraffe (painting), 549 on Renoir, 370–371 Champagne, Pierre, 80 Café de Paris (Mirande), 150 chanson des rues, 205 Cagnes-sur-mer, 499, 515 chanson réaliste, 5–6, 209, 216, 258–259 Cahen d’Anvers family, 489 chanteuse réaliste, 194, 206 Cahiers du cinéma Chaplin, Charlie, 42, 317, 375 budding auteur policy, 307 Renoir and, 154, 371–372, 411, 414, 518 postwar rehabilitation of Renoir, Chardère, Bernard, 383 515–516 Charensol, Georges, 185 regard for Renoir, 337, 359, 381–382 Charleston (dance), 112–113 on Renoir’s politics, 401 Charleston Parade see Sur un air de Charleston Callinicos, Alex, 425 Charpin, Fernand, 235n.5 Camden, 528 in Chotard et Cie, 74, 232–233, 234 Camelots du Roi, 486 Chat Noir cabaret, 206 Cameron, Ian, 376 Chéreau, Patrice, 351 Campany, David, 182 Chéret, Jules, 263 cancan, 99, 111, 261–265 Chérettes, 263 capitalist discourse, 566–567 Chéronnet, Louis, Capra, Frank, 391 on La Règle du jeu, 349, 350 Carette, Julien, 476–477 Chiari, Mario, 91 Carné, Marcel, 208, 419 Chinese box effect, 93 Cartier-Bresson, Henri, 180, 189, 195, 196 Chotard et Cie (Chotard and Company), camera of choice, 186 232–233 and Partie de campagne, 180, 197n.2 acting style, 74 and La Règle du jeu, 180, 197n.2, 458–459 Boudu sauvé des eaux compared with, and La Vie est à nous, 180, 197n.2 233–234 Casque d’or (Becker), 202 censorship, 354 Cassavetes, John, on markers, 83 as commissioned project, 404–405 Castanyer, Jean, 33n.1, 59, 406, 408 critical reception, 233, 234 casting, 73–75 failure, 234 Catherine, 72, 76, 573 filmographic details, 576 Cavell, Stanley, 188, 313 opening, 61–62, 233 celebrity, 251 voice and speech, 56 0001975657.INDD 595 3/20/2013 7:22:22 PM 596 Index Chotard et Cie (play), 232, 234 contemplation Cinecittà studio, 38, 91, 381 cinema of, 315–316 ciné-clubs, 316, 365 politics of, 323–326 Ciné-Liberté, 331, 399, 411, 412–413, 416, 426 Contempt see Le Mépris cinema Continental production company, 499 of contemplation, 315–316 cork theory, 77, 320 cultural power, 310 costume dramas écriture (writing) of, 315 French, 95 of signification, 315 Renoir, 88–103 of spatial continuity, 315 Count of Monte-Cristo, The (Vernay), 95 spiritual enrichment from, 316–317 Courant, Curt, 180, 183 of temporal discontinuity, 315 Courmes, Marcel, 41 “village of,” 498, 499 Criterion Collection, 389–391 cinéma de papa, 516 La Bête humaine, 141 Cinémathèque française La Règle du jeu, 389 move, 134 River,
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