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The Social Architecture of French Cinema, 1929–1939$
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Margaret C. Flinn

Print publication date: 2014

Print ISBN-13: 9781781380338

Published to Liverpool Scholarship Online: January 2015

DOI: 10.5949/liverpool/9781781380338.001.0001

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date: 23 October 2017

Intertext and Political Margins in Jean Renoir’s Boudu Sauvé Des Eaux

Intertext and Political Margins in Jean Renoir’s Boudu Sauvé Des Eaux

Chapter:
(p.58) Chapter Three Intertext and Political Margins in Jean Renoir’s Boudu Sauvé Des Eaux
Source:
The Social Architecture of French Cinema, 1929–1939
Author(s):

Margaret C. Flinn

Publisher:
Liverpool University Press
DOI:10.5949/liverpool/9781781380338.003.0004

This chapter shows that architecture and cinema had a privileged bond in the theorization of film (by critics such as André Malraux and Élie Faure) and its relationship to other arts in the 1930s, through the utopian political conceptions the two inspired and shared. After the examination of theoretical context, the chapter offers a reading of Jean Renoir’s Boudu sauvé des eaux that focuses on Notre-Dame de Paris as a spatial intertext, at once literary (because of Victor Hugo’s novel of the same name) and architectural. This suggests a newly politicized way to understand Renoir’s location of bodies in social spaces. The chapter places the documentary value of location footage alongside a number of other artistic representations, thus relying upon a broader notion of social document than heretofore mobilized.

Keywords:   Jean Renoir, Intertextuality, Victor Hugo, imaginary museum, cineplastics, Élie Faure, André Malraux

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