Politics
What group emerged as the ciné-club movement became less significant, becoming a dominant force in what one might call the aesthetic of social oppression?
Communist Party
When did the members of the October Group return to filmmaking?
In the last months of 1935
The Groupe Octobre’s most prominent member was this leftist screenwriter.
Jacques Prévert
Renoir developed his fascination with violence and became fully aware of the social dimensions of speech in the making of this film.
La Chienne
The major works of poetic realism all sought in one way or another to find what?
A tragic dimension in the lives of the socially marginal
Why did Jean Renior speak out about movies such as Triumph of the Wills regarding “heroic young people”?
He believed they “made manifest a disorderly enthusiasm at the appearance on the screen of Mussolini, Hitler, Franco's army.”
The majority of French fascists and fascist sympathizers had no issue naming their favorite sound film. This happened after what year?
After 1937
Who received crucial aid from established and aspiring members of the film community who had quite diverse relations to Left Politics?
Jean Vigo
What film was seen by very few people before being immediately banned by the French Government, was arguably leftist-archist, and is today considered one of the genuine masterpieces of world cinema?
Zéro de conduite
These two films by the team of Marcel Carné and Jacques Prévert came to symbolize the trend of poetic realism.
Quai des brumes (Port of Shadows) and Le Jour se leve (Daybreak)
French society was becoming increasingly what during the pre-war period?
Anti-Semitic
Jean Renoir chose to film La Bête humaine as his own essay in poetic realism. During what year was the film made?
1938
Renoir’s generally vague political commitments allowed him to maintain this in the film sphere.
His good relations with a variety of different activists and a broader scope of subject matter in fiction.
Above others, this film, having been directly financed by the P.C.F., was said to give a full cinematic expression of the Popular Front.
La Vie est à nous
Who was the only Jewish director in the poetic realism movement?
Pierre Chenal
The Parti Communiste Francais (P.C.F.) most likely emphasized theatre for these two reasons.
1) It was a way of seeking working-class recruits who were drawn by the lure of the stage. 2) Theatre involved collective effort and group discipline, both strong Party ideals.
The transition to synchronized recorded sound and the shift in social circumstances took place nearly at the same time as profoundly altered French filmmaking. When did this take place?
The early 1930s
This person was best known for their less political poems and poetic realist screenplays.
Jacques Prévert
This leftist film was a collaborative work done primarily by director Jean Renoir, screenwriter Jacque Prévert, and the Groupe Octobre.
Le Crime de Monsieur Lange
Poetic realist films typically followed the lives of which groups of people?
Economically disadvantaged outsiders
It is of relatively little use in examining the political culture of France in the 1930s because of why?
The extreme Right was uniformly more hostile to bourgeois individualism and to the dominant cinema which perpetuated it than was most of the left (also, “fascists and monarchists did not willingly form alliances”)
When did Jean Renoir make his only contribution to a type of filmmaking reviles by 1930s Communists and fellow travelers: poetic realism?
1938
Who became the principal sacrificial victim of the period’s rejection of the brooding, angry, pessimism of realism poetique (and its ultimately unpleasant, implicitly political message that, for the most wretched of the Earth, nothing of any value can be done, they can only die or accept their imprisonment in life)?
Pierre Chenal
What film took a strong stand against anti-Semitism, but was shown to select audiences, including the general French audience, only after stripping away all scenes that showed the Jewish character in a sympathetic light?
La Grande Illusion
In “Pépé le Moko”, Jean Gabin's character’s main downfall is due to this:
Sexuality, unlike most poetic realism films where the character's downfall is due to social class