Abstract
Discussions of the political valence of cinematic space often turn on the degree to which the spectator is permitted to become aware of his or her immersion in film narrative. Films that alert the spectator to their own rhetorical practices, often through the Brechtian strategy of emphasizing theatricality at the expense of mimesis, are generally understood to have the demystifying political effect of exposing to the viewer's gaze his or her subjection to the power of spectacle. Such an effect is most often recognized as a virtue of film styles that foreground editing in such a way as to reject any claim to naturalized representation. But the work of Jean Renoir, who in his films of the 1930s pursued his socialist commitments by means of a deep-space, longtake style that at crucial moments is surprisingly brought to bear on theatrical figures, complicates this account sufficiently to prompt a re-examination of the politics of deep space.
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