Just before World War II, French cinema reached a high point
that has been dubbed the style of "poetic realism." Working with
unforgettable actors like Jean Gabin and Arletty, directors such as
Renoir, Carne, Gremillon, Duvivier, and Chenal routinely captured
the prizes for best film at every festival and in every country,
and their accomplishments led to general agreement that the French
were the first to give maturity to the sound cinema. Here the
distinguished film scholar Dudley Andrew examines the motivations
and consequences of these remarkable films by looking at the
cultural web in which they were made.
Beyond giving a rich view of the life and worth of cinema in
France, Andrew contributes substantially to our knowledge of how
films are dealt with in history. Where earlier studies have treated
the masterpieces of this era either in themselves or as part of the
vision of their creators, and where certain recent scholars have
reacted to this by dissolving the masterpieces back into the system
of entertainment that made them possible, Andrew stresses the
dialogue of culture and cinema. In his view, the films open
questions that take us into the culture, while our understanding of
the culture gives energy, direction, and consequence to our reading
of the films. The book demonstrates the value of this hermeneutic
approach for one set of texts and one period, but it should very
much interest film theorists and film historians of all sorts."
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