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As filmmaking began to evolve in the post-war period, so too ¼º°øȸ´ëÆ÷ÀåÀÌ»ç did its portrayal of cats, with French director Jean Vigo¡¯s pioneering 1934 film L¡¯Atalante showing off a sea-faring group of felines belonging to Michel Simon¡¯s eccentric bargeman Pere Jules. In one scene, a kitten clings to his shoulder as Pere dances on the end of the pier wildly, while playing his accordion to welcome newlyweds Jean and Juliette to his boat.
Vigo was a precursor to the French New Wave directors and fellow cat lovers Agnes Varda and Chris Marker, who would frequently feature felines in their work. While in Blake Edwards¡¯ 1961 romantic classic Breakfast at Tiffany¡¯s, Holly Golightly has the ¡°poor slob¡± known only as Cat for company, Cleo Victoire in Varda¡¯s Cleo from 5 to 7 (1962) lives in a plush apartment with an ¼ºµ¿±¸¿ø·ëÀÌ»ç assortment of free-roaming kittens, evoking the image of free-spirited actress Sylvia in Federico Fellini¡¯s La Dolce Vita (1960), cavorting with a tiny white kitten near the Trevi fountain in Rome. These lonely, creative souls find companionship in the form of their feline friends ? not quite as needy as dogs, but infinitely less judgemental than humans.