Between 1947 and 1953, non-public film producers tailored novels and performs that had been quite in style on the radio, corresponding to Un homme et son péché , Séraphin , La petite Aurore l’enfant martyre and Tit-Coq . At the identical time, a need for change manifested itself in strong protests by Montréal’s francophone intellectuals, journalists and artists in opposition to the all-powerful Catholic Church and the pervading conservatism of the occasions. However, probably the most putting phenomenon of this era remained French-speaking Montrealers’ nascent awareness of their socio-economic alienation.
