FILMS. 4th EDItION UNE PARTIE DE CAMPAGNE reunited themselves, a development which tears Hunter away from Producer: Pierre Braunberger; executive producer: Jacques B he stable and caring guardianship of Walt and Annie. The quest Brunius, with Roger Woog: screenplay: Jean Renoir, from the story provides a sense of purpose lacking from Wenders's previous films. by Guy Maupassant: photography: Claude Renior; editor: Marguerite Jane's discovery promises to reveal the past and save Travis. When Houle-Renoir, final version: Marienette Cadix under Marguerite they finally meet in a peepshow we learn that Travis's violent desire Houle-Renoir's supervision, assisted by Marcel Cravenne; sound: to own Jane was an initial cause of rupture Courme de bretagne and Joseph de bretagne: production designer: Travis is the voyeur looking in, while Jane is confined to the sound Robert Gys; music: Joseph Kosma and Germaine Montero; assistant of his vo d her reflection in a one way mirror. Somehow to the director: Jacques Becker and Henri Cartier-Bresson, other a second meeting here, they achieve a degree of mutual recognition, contributors to this film include: Claude Heymann, Luchino Visconti finding catharsis through confession to one another. The narrative and Y ves Allegret winds down as the film alternates between them, finally moving to her side of the partition. Slight changes of camera angle open up the Cast: Sylvia Bataille(Henriette ) Georges Darnoux(Henri): Jeanne oppressed space. Quick cuts between them express the return of Marken(Madame Dufour); Jacques Borel(Rodolphe);Paul Temps a bond. and at the end of the scene travis turns off his booth light so (Anatole); Gabrielle Fontan(Grandmother); Jean Renoir (Father the ghostly but overwhelming memory which has returned to Jane. Dufour): Pierre Lestringuez(Old priest) Thus, in a powerful fashion, through a cinematic array of devices, we are presented with an imaginary realm within the fiction. Throughout, a form of dominance is attributed to the image itself Paris, Texas remains a crumpled photograph; the family is only seen Publications united, enjoying themselves in a super film Meanwhile America elf appears to be filtered through the processes of representation. Not only is the country portrayed as the endless space of the road movie, but also through such motifs as the Statue of Liberty, which pops up in the background of one shot as a mural. This detail connotes Renoir, Jean, Une Partie de campagne, in Image et Son(Paris), April- Americana, a symbolic substitute for the nation. While, the action is May 1962: excerpts in Jean Renoir: An Investigation into His strictly kept to the periphery of cities, the identity of America remains Films and Philosophy, by Pierre Leprohon, New York, 1971 mysterious, a miragelike entity viewed from the distant perspective of Travis, the outsider. Maybe one reason why a European filmmaker books can deal with American mythology in the 1980s is because Holly- wood,'s stable representations of the nation are increasingly worked through high-tech science fiction, spectacle, and more marginal Davay, Paul, Jean Renoir, Brussels, 1957 discourses than in the classical era. Paris, Texas is surely aware of Cauliez, Armand-Jean, Jean Renoir, Paris, 1962 this. After all, Hunter is depicted as a Star Wars fan. With the older Renoir, Jean, Renoir, My Father,Boston,196 mythologies vacated by the heavyweights of Hollywood, Paris, Chardere, Bernard, editor, Jean Renoir, Lyons, 1962 Texas is left free to renew a language which is more imaginary Bennett. Susan. Study Unit 8: Jean Renoir. London. 1967. than ever Poulle, Francois, Renoir, 1938, Paris, 1969 Gregor, Ulrich, editor, Jean Renoir und seine Film: Eine Dokumentation. Bad Ems. 1970. Daniel williams Cuenca, Carlos, Humanidad de jean Renoir, valladolid 1971 Braudy, Leo, Jean Renoir: The World of His Films, New York, 1972 Bazin, Andre, Jean Renoir, Paris, 1973 Durgnat, Raymond, Jean Renoir, Berkeley, 1974. UNE PARTIE DE CAMPAGNE Harcourt, Peter, Six European Directors: Essays on the Meaning of Film style. Baltimore. 1974 Beylie, Claude, Jean Renoir: Le Spectacle, la vie, Paris, 1975 (A Day in the Country) Gilliatt, Penelope, Jean Renoir: Essays, Conversations, Reviews, New York. 1975 france. 1946 Faulkner, Christopher, Jean Renoir: A Guide to References and Resources. Boston. 1979 Sesonske. Alexander. Jean Renoir: The French Films 1924-1939 Director: Jean renoir Cambridge massachusetts. 1980 Gauteur Claude Jean renoir: Oeuvres de cinema inedites. Paris. 1981 Production: Pantheon-Production; black and white, 35mm; running McBride, Joseph, editor, Filmmakers on Filmmaking: The American ime: 45 minutes; length: 1 100 meters, originally 1232 meters. Film Institute seminars on Motion Pictures and Television, vol. 2 Released 8 May 1946, Paris. Filmed July-August 1936 near Montigny Los Angeles, 1983 and Marlotte Sarceau. Daniel. Jean Renoir. Paris. 1985 919FILMS, 4 UNE PARTIE DE CAMPAGNE th EDITION 919 reunited themselves, a development which tears Hunter away from the stable and caring guardianship of Walt and Annie. The quest provides a sense of purpose lacking from Wenders’s previous films. Jane’s discovery promises to reveal the past and save Travis. When they finally meet in a peepshow we learn that Travis’s violent desire to own Jane was an initial cause of rupture. Travis is the voyeur looking in, while Jane is confined to the sound of his voice and her reflection in a one way mirror. Somehow on a second meeting here, they achieve a degree of mutual recognition, finding catharsis through confession to one another. The narrative winds down as the film alternates between them, finally moving to her side of the partition. Slight changes of camera angle open up the oppressed space. Quick cuts between them express the return of a bond, and at the end of the scene Travis turns off his booth light so that Jane can see him. He is resigned, distant, an illuminated image, the ghostly but overwhelming memory which has returned to Jane. Thus, in a powerful fashion, through a cinematic array of devices, we are presented with an imaginary realm within the fiction. Throughout, a form of dominance is attributed to the image itself: Paris, Texas remains a crumpled photograph; the family is only seen united, enjoying themselves in a super 8 film. Meanwhile America itself appears to be filtered through the processes of representation. Not only is the country portrayed as the endless space of the road movie, but also through such motifs as the Statue of Liberty, which pops up in the background of one shot as a mural. This detail connotes Americana, a symbolic substitute for the nation. While, the action is strictly kept to the periphery of cities, the identity of America remains mysterious, a miragelike entity viewed from the distant perspective of Travis, the outsider. Maybe one reason why a European filmmaker can deal with American mythology in the 1980s is because Holly￾wood’s stable representations of the nation are increasingly worked through high-tech science fiction, spectacle, and more marginal discourses than in the classical era. Paris, Texas is surely aware of this. After all, Hunter is depicted as a Star Wars fan. With the older mythologies vacated by the heavyweights of Hollywood, Paris, Texas is left free to renew a language which is more imaginary than ever. —Daniel Williams UNE PARTIE DE CAMPAGNE (A Day in the Country) France, 1946 Director: Jean Renoir Production: Pantheon-Production; black and white, 35mm; running time: 45 minutes; length: 1100 meters, originally 1232 meters. Released 8 May 1946, Paris. Filmed July-August 1936 near Montigny and Marlotte. Producer: Pierre Braunberger; executive producer: Jacques B. Brunius, with Roger Woog; screenplay: Jean Renoir, from the story by Guy Maupassant; photography: Claude Renior; editor: Marguerite Houle-Renoir, final version: Marienette Cadix under Marguerite Houle-Renoir’s supervision, assisted by Marcel Cravenne; sound: Courme de Bretagne and Joseph de Bretagne; production designer: Robert Gys; music: Joseph Kosma and Germaine Montero; assistant to the director: Jacques Becker and Henri Cartier-Bresson, other contributors to this film include: Claude Heymann, Luchino Visconti, and Yves Allegret. Cast: Sylvia Bataille (Henriette); Georges Darnoux (Henri); Jeanne Marken (Madame Dufour); Jacques Borel (Rodolphe); Paul Temps (Anatole); Gabrielle Fontan (Grandmother); Jean Renoir (Father Poulain); Marguerite Renoir (The servant); Gabriello (M. Cyprien Dufour); Pierre Lestringuez (Old priest). Publications Script: Renoir, Jean, Une Partie de campagne, in Image et Son (Paris), April￾May 1962; excerpts in Jean Renoir: An Investigation into His Films and Philosophy, by Pierre Leprohon, New York, 1971. Books: Davay, Paul, Jean Renoir, Brussels, 1957. Cauliez, Armand-Jean, Jean Renoir, Paris, 1962. Renoir, Jean, Renoir, My Father, Boston, 1962. Chardère, Bernard, editor, Jean Renoir, Lyons,1962. Bennett, Susan, Study Unit 8: Jean Renoir, London, 1967. Poulle, François, Renoir, 1938, Paris, 1969. Gregor, Ulrich, editor, Jean Renoir und seine Film: Eine Dokumentation, Bad Ems, 1970. Cuenca, Carlos, Humanidad de Jean Renoir, Valladolid, 1971. Braudy, Leo, Jean Renoir: The World of His Films, New York, 1972. Bazin, André, Jean Renoir, Paris, 1973. Durgnat, Raymond, Jean Renoir, Berkeley, 1974. Harcourt, Peter, Six European Directors: Essays on the Meaning of Film Style, Baltimore, 1974. Beylie, Claude, Jean Renoir: Le Spectacle, la vie, Paris, 1975. Gilliatt, Penelope, Jean Renoir: Essays, Conversations, Reviews, New York, 1975. Faulkner, Christopher, Jean Renoir: A Guide to References and Resources, Boston, 1979. Sesonske, Alexander, Jean Renoir: The French Films 1924–1939, Cambridge Massachusetts, 1980. Gauteur, Claude, Jean Renoir: Oeuvres de cinéma inédites, Paris, 1981. McBride, Joseph, editor, Filmmakers on Filmmaking: The American Film Institute seminars on Motion Pictures and Television, vol. 2, Los Angeles, 1983. Sarceau, Daniel, Jean Renoir, Paris, 1985