Although Jean Renoir’s oeuvre has been extensively debated since the emergence of the politique des auteurs in the pages of Cahiers du cinéma, his representation of gender relations has sustained less discussion than his signature formal style. This article posits that Renoir’s films provide a valuable means of identifying how gender, specifically female identity, affects temporal trajectories in cinema. First, it illustrates Gilles Deleuze’s understanding of crystallisation and situates it in relation to current scholarship on gender representation in the director’s work. Second, it conducts a close analysis of the relationship between female identity and crystallisation through a close analysis of the central female characters of La Règle du jeu (1939) and The Golden Coach (1952). This article ultimately argues that whether these characters belong to an upper-or lower-class stratum, they are subordinated to male power, which plays a determining role in the range of potential futures available to them.

虽然让雷诺阿的作品以来的出现了广泛的辩论politique德auteurs在页面电影手册，他的性别关系的表现已经比他的签名的正式风格持续的讨论较少。本文假定雷诺阿的电影提供了一种有价值的手段来确定性别，特别是女性身份如何影响电影中的时间轨迹。首先，它说明了吉尔·德勒兹对结晶的理解，并将其与当前关于导演作品中性别代表性的学术研究相联系。其次，它通过对La Règle du jeu (1939) 和黄金教练（1952）。本文最终认为，这些角色是否属于上层或下层，他们都服从于男性权力，这在他们可以使用的潜在未来范围中起着决定性作用。