On this episode of the podcast, host Dr Pasquale Iannone is joined by writer, critic and academic Hannah McGill to discuss Poetic Realism, a 1930s trend in French cinema which combined the earthy and the ethereal to often mesmerising effect.   Whether shot in real locations or on large-scale sets, whether set in France or elsewhere around the globe, these early sound pictures are moody and melancholy. They’re fatalistic tales of immigrant labourers, train workers, tugboat captains, petty criminals, deserters, gangsters. Directors who made films in this style included Marcel Carné, Julien Duvivier and the three Jeans - Renoir, Vigo and Grémillon. Hannah and Pasquale discuss the socio-political backdrop, some of the major films, directors and actors as well as the trend's influence on Italian neorealism and American film noir.  Films discussed include L'Atalante (Jean Vigo, 1934), Toni (Jean Renoir, 1934), La grande illusion (Jean Renoir, 1937), La bête humaine (Jean Renoir, 1938), Le quai des brumes (Marcel Carné, 1938), Le jour se lève (Marcel Carné, 1939) and many more.

On this episode of the podcast, host Dr Pasquale Iannone explores the little-known early films of one of the most influential filmmakers of all time, German director Douglas Sirk. Sirk is synonymous with one particular genre. His most famous films, such as Magnificent Obsession (1954), All That Heaven Allows (1955), Written on the Wind (1956) and Imitation of Life (1959) are glossy, luxurious Technicolor melodramas which would go on to inspire the likes of Rainer Werner Fassbinder, Todd Haynes and many others. But there is more to Sirk than melodrama - he made war films, crime movies, historical dramas and comedies in a career spanning over 25 years and several countries. Earlier this year, Eureka Entertainment released a box set titled Sirk in Germany (1934 - 1935), a collection which takes us all the way back to the beginning of Sirk’s film career. The set includes beautiful restorations of his first three features as well as several short films, all of which were made in the early years of the Nazi regime. Alongside bonus material from noted film historians Sheldon Hall and Tim Bergfelder, there are three audio commentaries from the University of Edinburgh’s very own David Melville Wingrove. David is a Teaching Fellow at the University’s Centre for Open Learning where he teaches hugely popular courses on both film and literature, specialising in dark and fantastical themes and styles. He is also a prolific writer, regularly contributing to publications such as Senses of Cinema. David and Pasquale discuss Sirk’s first short film Two Greyhounds (1934) and his first feature April! April! (1935), both light comedies centring on mistaken identity which skewer - mostly with affection - the mores of the German middle class. David helps to place the films in historical context and he also tells Pasquale why Sirk, who was very much one of the leading lights of the German theatre in the late 20s and early 30s, decided to make the move into filmmaking.