Abstract
ABSTRACTWhile the narrative and political ambiguities of Le Crime de Monsieur Lange have received much critical attention, the film's structuring generic tension between the Western and crime cinema has not. Through a careful manipulation of genre, Renoir attempts to construct the audience's interpretation of the film's murder as a revolutionary gesture that founds a new kind of economic and social community. This article examines the politics of popular culture in Lange and situates its revolutionary potential within the context of Popular Front France.
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