Incubator escapee wiki

Cinéma vérité

Article Discussion
(Redirected from Cinema verite)

Template:Short description {{#invoke:other uses|otheruses}}

Cinéma vérité (Template:IPAc-en, Template:IPAc-en, {{#invoke:IPA|main}} Template:Lit) is a style of documentary filmmaking developed by Edgar Morin and Jean Rouch, inspired by Dziga Vertov's theory about Kino-Pravda. It combines improvisation with use of the camera to unveil truth or highlight subjects hidden behind reality.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref> Ricky Leacock and “The Sense of Being There” Template:Webarchive – Article by Stephen Altobello at IMN</ref><ref>Camera that Changed the World, BBC Four.</ref> It is sometimes called observational cinema,<ref>Direct Cinema Template:Webarchive at Karamumedia12 Template:Webarchive.</ref><ref>Observational documentary at Film Reference</ref> if understood as pure direct cinema: mainly without a narrator's voice-over. There are subtle, yet important, differences between terms expressing similar concepts. Direct cinema is largely concerned with the recording of events in which the subject and audience become unaware of the camera's presence: operating within what Bill Nichols,<ref>Nichols, Bill. Introducing the Documentary. Indiana University Press, 2001, p. 109</ref> an American historian and theoretician of documentary film, calls the "observational mode", a fly on the wall. Many therefore see a paradox in drawing attention away from the presence of the camera and simultaneously interfering in the reality it registers when attempting to discover a cinematic truth.

HistoryEdit

Cinéma vérité can involve stylized set-ups and interaction between the filmmaker and the subject, even to the point of provocation. Some argue that the obvious presence of the filmmaker and camera was seen by most cinéma vérité filmmakers as the best way to reveal the truth.<ref>Barbara Bruni, "Jean Rouch: Cinéma-vérité, Chronicle of a Summer and The Human Pyramid", Senses of Cinema, issue 19, March 2002.</ref><ref>DIRECT CINEMA: Filmmaking Style and its relationship to "Truth" – Thesis by Bernice K. Shneider, B.A., Art History University of Massachusetts, MIT (1972)</ref><ref>Jean Rouch – The Film-maker as Provocateur Template:Webarchive – Article at Microwave.</ref> The camera is always acknowledged, for it performs the act of filming real objects, people, and events in a confrontational way. The filmmaker's intention was to represent the truth as objectively as possible, freeing the viewer from deceptions in how those aspects of life were formerly presented to them. From this perspective, the filmmaker should be the catalyst of a situation. Even among filmmakers whose works are described by these terms, there is little consensus on their meanings.

Pierre Perrault sets situations up and then films them, for example in Pour la suite du monde (1963) where he asked old people to fish for whale. The result is not a documentary about whale fishing; it is about memory and lineage. In this sense cinéma vérité is concerned with anthropological cinema, and with the social and political implications of what is captured on film. How a filmmaker shoots a film, what is being filmed, what to do with what was filmed, and how that film will be presented to an audience, all were very important for filmmakers of the time.

In all cases, the ethical and aesthetic analysis of documentary form (see docufiction) of the 1950s and 1960s has to be linked with a critical look at post-war propaganda analysis. This type of cinema is concerned with notions of truth and reality in film. Feminist documentary films of the 1970s often used cinéma-vérité techniques. This sort of "realism" was criticized for its deceptive pseudo-natural construction of reality.<ref>A feminist critique of documentary film – Paper at Serendip Studio Template:Webarchive</ref><ref>By, For, and About: The “Real” Problem in the Feminist Film Movement Template:Webarchive – Paper by Shilyh Warren at Mediascape, UCLA</ref>

Edgar Morin coined the term around the time of such essential films as 1960's Primary<ref name="The Godfather of Cinéma Vérité">Richard Brody, "The Godfather of Cinéma Vérité", The New Yorker, July 31, 2014.</ref> and his own 1961 collaboration with Jean Rouch, Chronicle of a Summer.<ref>Chronicle of a Summer (1961), The Criterion Collection.</ref>

Filmmakers associated with the styleEdit

PioneersEdit

|CitationClass=web }}</ref>

  • Richard Leacock<ref name="Cinema Verite: The Movement of Truth|Independent Lens" /><ref name="doesveritieexist?"/><ref name="veritieshorts"/><ref name="transformedamerica"/>
  • D. A. Pennebaker<ref name="Cinema Verite: The Movement of Truth|Independent Lens" /><ref name="doesveritieexist?"/><ref name="criterionveritie"/><ref name="jan2023"/><ref name="veritieshorts"/><ref name="transformedamerica"/><ref name="filmfourmverite"/>
  • Jean Rouch<ref name="Cinema Verite: The Movement of Truth|Independent Lens" /><ref name="criterionveritie"/>

OthersEdit

Sources:<ref name="doesveritieexist?" /><ref name="jan2023" /><ref name="transformedamerica" />

|CitationClass=web }}</ref>

Selected cinéma-vérité filmsEdit

|CitationClass=web }}</ref><ref name="1960scinemaveritie"/><ref name="howtousecinemavertie"/><ref name="taughtmevertie"/><ref name="criterionveritie"/><ref name="filmfourmverite"/>

|CitationClass=web }}</ref>

|CitationClass=web }}</ref><ref>IN ‘THE ATOMIC CAFE,’ U.S. COLD WAR PROPAGANDA COMES OUT OF THE BUNKERS FOR THE TRUMP ERA - The Texas Observer</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

|CitationClass=web }}</ref><ref>IN DISGUISE A GROTESQUE MIRROR ON THE CULTURE 'PARIS IS BURNING' AND THE ... - Buffalo News</ref>

|CitationClass=web }}</ref>

Fictional cinéma vérité–style filmsEdit

The following are films that are fictional or semi-fictional which use cinéma vérité film-making techniques:

LegacyEdit

Many film directors of the 1960s and later adopted use of handheld camera and other cinéma vérité aspects for their scripted, fiction filmsTemplate:--having actors improvise to get a more spontaneous quality in their dialogue and action. Influential examples include director John Cassavetes, who broke ground with his 1968 Academy Award-nominated film Faces.<ref>John Cassavetes in Allmovie, accessed online on the New York Times, October 23, 2006.</ref> The techniques of cinéma vérité can also be seen in fictional films from The Blair Witch Project<ref name="Cinema Verite: The Movement of Truth|Independent Lens" /> to Saving Private Ryan.<ref>Best Film Editing Sequences - filmsite.org</ref>

Cinéma vérité was also adapted for use in scripted TV programs, such as Homicide: Life on the Street, NYPD Blue, The Shield,<ref name="Cinema Verite: The Movement of Truth|Independent Lens" /> both the UK and American versions of The Office,<ref name="howtousecinemavertie"/> Parks & Recreation<ref>Brad Becker Parton, "How 'Parks and Rec' Transcended its Mockumentary Roots", Vulture, February 26, 2015.</ref> and Modern Family.<ref name="Cinema Verite: The Movement of Truth|Independent Lens" /> Documentary series are less common, but COPS is one famous non-fictional example.<ref name="Cinema Verite: The Movement of Truth|Independent Lens" />

It has also been a subject ripe for parodies and spoofs such as the mockumentary film This Is Spinal Tap<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and Emmy Award-nominated TV series Documentary Now (the latter paying homage to the style of such CV classics as Grey Gardens, Salesman and The War Room).<ref>"'Documentary Now!' a spoof on docs by 'SNL' alums Seth Meyers, Bill Hader and Fred Armisen", Daily News, August 14, 2015.</ref><ref>Hubert Adjei-Kontoh, "Documentary Now! An ode to the funniest spoof on television", The Guardian, February 20, 1019.</ref>

See alsoEdit

ReferencesEdit

Template:Reflist

External linksEdit

Template:Film genres

Retrieved from "https://zalansite.site/mediawiki/index.php?title=Cinéma_vérité&oldid=157947"