In 1944 Feyder and Françoise Rosay published "Le Cinéma, notre métier", an autobiographical memoir of their work together in the cinema, in which Feyder stated that he regarded himself as an artisan, a craftsman of filmmaking. Some critics have been content to take him at his word and to look no further for any underlying vision of the world. He was however insistent upon his creative independence, demonstrated by his willingness to make his films in so many different countries if the conditions of production appeared favourable. Recurrent themes in his work include the reckless love of a mysterious or unknown woman ("L'Atlantide", "L'Image", "Carmen", "Le Grand Jeu"), the gap between reality and the vision that someone has of it ("Crainquebille", "Gribiche", "Les Nouveaux Messieurs", "La Kermesse héroïque"), and maternal love ("Gribiche", "Visages d'enfants", "Pension Mimosas").