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François Truffaut known as him, easily, ‘the best’. Jean Renoir is a towering determine in international cinema and completely justifies this enormous survey that incorporates contributions from best foreign movie students and comprehensively analyzes Renoir’s lifestyles and occupation from a number of serious perspectives.
• New and unique examine by means of the world’s best 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 a number of serious methodologies, from textual research to archival study, cultural reports, gender-based and philosophical approaches
• positive factors special research of Renoir’s crucial works
• presents a world standpoint in this key auteur’s enduring value in international movie historical past

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Nevertheless, the camera, and the viewer, relished these scenes, conveyed prurient delight in their brazen excess. Like all other movies of this genre, Old Testament epics were “big” in every way. The cinematography emphasized the vastness of space, with pans across deserts, mountains, and skies. 24 Casting and costuming The casting is also typical of the epic genre, featuring big-name Hollywood stars, such as Gregory Peck and Susan Hayward, who play David and The Old Testament epics 23 Bathsheba in the 1951 film, and Charlton Heston, who famously played Moses in The Ten Commandments (1956).

52 The gaze generates desire, in the cinematic character, to be sure, but also in the viewer who gazes at films in which men and women gaze at one another. 54 The biblical story refers only to David staring at Bathsheba; the film, however, makes the gaze mutual. Not only was David watching Bathsheba, but Bathsheba was also watching David, flirtatiously, perhaps dangerously, looking over her shoulder and staring directly into the camera. And while David’s desire is aroused for the first time on this lazy spring afternoon in the season when kings go out to war, Bathsheba lets the king know that her desire has long preceded his.

39 Art DeMille was the director perhaps most committed to authenticity, not historicity per se but an aura of authenticity that would appeal to the viewer. He made skilful use of allusionism by drawing on elements that would have been familiar to many audiences. For example, the visual design of the 1956 version of The Ten Commandments was deliberately conceived to recall the colors and images employed by pre-Raphaelite painters in their reformulation of medieval painting. This association is created by the use of red, green, and blue, and the overall pageantry and detail of the setting and costumes.

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