The early films
in Jean Renoir
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

This chapter considers the films that Jean Renoir directed during his first decade as a film-maker. They are categorised into two groups: the silent films and those that followed the introduction of sound. The chapter begins with Renoir's two silent films: Charleston, evoking colonial themes, and Le Bled celebrating the centenary of the colonisation of Algeria. La Fille de Veau combines an entirely conventional melodramatic narrative with avant-gardist visual effects. Renoir's early sound films were literary adaptations. The chapter explains the adaptations of boulevard comedies all of which stage the collision between a disruptive character and a constraining social frame. It then looks at Madame Bovary and La Chienne both of which show the destruction of a self-deluding individual by a corrupt society. The chapter also looks at La Nuit du carrefour and Toni, two films that stage the collision of tradition and modernity while foregrounding migration and xenophobia.


All Time Past Year Past 30 Days
Abstract Views 41 12 0
Full Text Views 17 6 0
PDF Downloads 4 1 1