在让·雷诺阿的《朗格先生的罪行》(1936)中勾勒出人民阵线的未来。

Barry Nevin
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引用次数: 0

摘要

摘要:吉尔·德勒兹认为,让·雷诺阿的整个œuvre展现了时间最基本的运作,不断地在张力中把握着被体现的过去和一个真正的新未来的潜在创造。虽然德勒兹没有提到《朗格先生的罪行》,这部电影巩固了雷诺阿与人民阵线的联系,但他引人入胜地指出,这种辩证法部分源于雷诺阿对人民阵线的态度。德勒兹的框架如何允许观众将这部电影解释为雷诺阿自己对人民阵线未来的矛盾心理的表达,这还有待充分解决。本文以雷诺阿在拍摄《朗格》期间创作的未被拍摄的剧本《艾达》为例,认为雷诺阿运用他的标志性技巧和原始法西斯主义的形象,反思性地批评了在当代巴黎实施社会主义理想的地方尝试。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
‘Prochainement: Arizona Jim contre Cagoulard’: framing the future of the Front populaire in Jean Renoir’s Le Crime de Monsieur Lange (1936)
Abstract Gilles Deleuze remarks that Jean Renoir’s entire œuvre displays the most fundamental operation of time, constantly holding the embodied past and the potential creation of a genuinely new future in tension. Although he fails to address Le Crime de Monsieur Lange, the film that cemented Renoir’s association with the Front populaire, Deleuze tantalisingly remarks that this dialectic stems partly from Renoir’s attitude towards the Front populaire. How Deleuze’s framework allows spectators to interpret this film as an expression of Renoir’s own ambivalence regarding the future of the Front populaire has yet to be sufficiently addressed. Drawing on Ida, an unfilmed screenplay written by Renoir during the making of Lange, this article argues that Renoir mobilises his signature techniques and proto-fascist iconography to reflexively criticise local attempts to implement socialist ideals in contemporary Paris.
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来源期刊
Studies in French Cinema
Studies in French Cinema FILM, RADIO, TELEVISION-
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