In 1937, during the poeticalalal realism causal agency and at the hight of the classical film making period in France, director Julien Duvivier releases his sound Pépé le Moko. While early(a) poetic realist film had been produced and experimented with, Dudley Andrews, author of the book Mists of Regret: Culture and sensitiveness in Classic French Film, would later state that Pépé le Moko “linked exotic décor and the femme fatale, levering the poetic realist sensibility into an acceptable, desirable goal in the film patience overall” (Andrews, 251). With the help of Andrews work we will look at each of the elements of cinema which help make Duviviers Pépé le Moko such a classic example of poetic realism as well as discus the goals and aspirations of the movement as a whole.
The Poetic Realism movement began in France starting as early as 1930 and leading up to World War II. Throughout the thirties poetic realist films grew in popularity both at home and internationally. Film makers like denim Gremillon, Marcel Carne, and our own Julien Duvivier contributed to the film movement.
Author Remi Fournier Lanzoni described poetic realism in his essay French Cinema from Its Beginnings to the Present, as the representation of the popular hero, the pessimistic atmosphere, the [ultimately doomed] quest for happiness, and finally the tragical destiny...[It] incorporates chiaroscuro lighting, background artifices, evocative visual imagery, and wittiness of dialog resulted in a distinctive lyrical style. In other words, Poetic Realist films centered on characters who have a snuff it shot at what they desire only to have their efforts line of descent short. Much of the movement was focused on depicting undertaking environments and longing to return home to France. These films can also characterized by the use of realistic sets and dynamic environments as well as the use of camera angle, lighting, and sound to portray and evoke emotion....If you deprivation to get a full essay, order it on our website: Orderessay
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