Abstract
ABSTRACTIt has been frequently argued that the introduction of sync sound to film in the late 1920s dulled the interesting visual style of feature films that was just beginning to reach its full promise in that decade, and led to a regressive, theatrical visual style in the 1930s. A close analysis of one of Renoir's last silent films, Tire au flanc/The Sad Sack (1928), and one of his first sound films, La Chienne/The Bitch (1931), however, demonstrates that for Renoir, the introduction of sync sound liberated his visual style and allowed him to fully realize his film-making potential. Quantitative evidence in the analysis of these two films shows trends in Renoir's film-making that might not be obvious in a regular viewing of the films. This article will demonstrate that, at least for Renoir's work in this period, the introduction of sound significantly altered the visual style of his films.
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