Abstract

This essay shows the paradoxical way that the murder scene structures the poetics of realism across Renoir's films, opening a way to reconceptualize the entrenched opposition between realism and both modernism and formalism in film theory and criticism.

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Additional Information

ISSN
2578-4919
Print ISSN
2578-4900
Pages
pp. 26-48
Launched on MUSE
2009-01-15
Open Access
No
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