This document provides background information and definitions related to cinema verite. It begins by defining cinema verite as a filming method using handheld cameras and synchronous sound that emphasizes capturing reality over manipulating it. The document then discusses the work of Dziga Vertov, a pioneering Russian filmmaker, who anticipated many concepts central to cinema verite through his emphasis on capturing unstaged reality, opposition to fictional elements, and recognition of editing and sound as integral parts of the filmmaking process. The document examines Vertov's views in order to discuss still-relevant ideas but not provide a full history of cinema verite's influences. In under 3 sentences, it orients the reader to the key points and purpose of the document
This document provides an overview of different styles and techniques used in documentary filmmaking. It discusses cinéma vérité style, which combines naturalistic techniques with staged elements. It also outlines three basic documentary structures: observational, using only filmed material without interference; standard, which may include voiceovers and interviews; and documentary drama, which uses reconstructions. The document then covers various documentary styles developed by Bill Nichols, including poetic, observational, reflexive, expository, participatory, and performative. It concludes by discussing techniques for storytelling, scripting, shooting video, and editing documentaries.
Cinema Verite is a documentary filmmaking style that combines naturalistic techniques with staged elements. It aims to capture truth or provoke subjects. Over time, Cinema Verite has influenced other genres by adopting handheld camerawork and lack of scripts to seem more realistic. Modern examples that mix Cinema Verite with horror and thriller genres include The Blair Witch Project, Cloverfield, and Grave Encounters.
Cinema Verite is a documentary style using naturalistic techniques like handheld cameras and on-location filming combined with editing and camerawork to provoke subjects. It originated in France in the 1960s using non-actors and location settings rather than studios. Over time, Cinema Verite evolved to use the camera and editing to reveal meaning and allow audiences to experience events. Key techniques include handheld cameras, on-location filming, interviews, voiceovers, and supporting photos or images. Examples that demonstrate these techniques are Roger and Me, West 47th Street, and Grey Gardens.
Direct cinema developed in the 1960s by the Maysles brothers who wanted to compare reality to common opinions. They filmed events without manipulation to challenge other documentary modes. Cinema verite is a style combining naturalistic techniques with editing and camerawork to provoke subjects. It is also known for taking provocative stances. Warrendale and The War Room are examples of direct cinema and cinema verite respectively that observe events candidly.
Cinéma vérité is a documentary filmmaking style that combines naturalistic techniques with staged elements. It aims to look truthful or unscripted. Over time, cinéma vérité has matured and been used to provide perspective across many genres and topics. Directors incorporate cinéma vérité elements like handheld camerawork and interactions between actors and camera operators to make scripted films seem more realistic and engage audiences. Examples like District 9, The Fourth Kind, and Derek use these techniques to varying degrees.
Cinéma vérité is a documentary filmmaking style that combines naturalistic techniques with staged elements. It aims to look truthful or realistic. Over time, cinéma vérité has matured and influenced other genres by making scripted films seem more natural. Directors incorporate techniques like handheld camerawork, interactions with camera operators, and claiming fictional footage is real to manipulate audiences into thinking events are unscripted. This blending of cinéma vérité with other genres heightens realism and excitement.
The document traces the evolution of documentary films from their origins with the Lumière brothers in 1895 to modern styles. It discusses early documentaries like Nanook of the North and Night Mail. Direct Cinema and Cinema Verité emerged in the 1950s-60s with a goal of portraying truth without interference. More recently, mockumentaries have parodied documentary conventions for comic effect.
The history of documentary filmmaking began in 1895 with the Lumiere brothers creating short unedited clips they called "actualities" showing life around them. The more familiar documentary format emerged in 1922 with Nanook of the North, which was the first to use planned scenes to tell a dramatic story. Direct Cinema arose in the 1950s-60s, aiming to present social and political issues in a direct, unmediated way using lighter cameras and film stock. Meanwhile, Cinema Verite used similar techniques to convey a sense that viewers see unfiltered reality, influencing both documentaries and drama films. Recent mockumentaries have further called into question how much we can trust documentary films.
This document provides an overview of different styles and techniques used in documentary filmmaking. It discusses cinéma vérité style, which combines naturalistic techniques with staged elements. It also outlines three basic documentary structures: observational, using only filmed material without interference; standard, which may include voiceovers and interviews; and documentary drama, which uses reconstructions. The document then covers various documentary styles developed by Bill Nichols, including poetic, observational, reflexive, expository, participatory, and performative. It concludes by discussing techniques for storytelling, scripting, shooting video, and editing documentaries.
Cinema Verite is a documentary filmmaking style that combines naturalistic techniques with staged elements. It aims to capture truth or provoke subjects. Over time, Cinema Verite has influenced other genres by adopting handheld camerawork and lack of scripts to seem more realistic. Modern examples that mix Cinema Verite with horror and thriller genres include The Blair Witch Project, Cloverfield, and Grave Encounters.
Cinema Verite is a documentary style using naturalistic techniques like handheld cameras and on-location filming combined with editing and camerawork to provoke subjects. It originated in France in the 1960s using non-actors and location settings rather than studios. Over time, Cinema Verite evolved to use the camera and editing to reveal meaning and allow audiences to experience events. Key techniques include handheld cameras, on-location filming, interviews, voiceovers, and supporting photos or images. Examples that demonstrate these techniques are Roger and Me, West 47th Street, and Grey Gardens.
Direct cinema developed in the 1960s by the Maysles brothers who wanted to compare reality to common opinions. They filmed events without manipulation to challenge other documentary modes. Cinema verite is a style combining naturalistic techniques with editing and camerawork to provoke subjects. It is also known for taking provocative stances. Warrendale and The War Room are examples of direct cinema and cinema verite respectively that observe events candidly.
Cinéma vérité is a documentary filmmaking style that combines naturalistic techniques with staged elements. It aims to look truthful or unscripted. Over time, cinéma vérité has matured and been used to provide perspective across many genres and topics. Directors incorporate cinéma vérité elements like handheld camerawork and interactions between actors and camera operators to make scripted films seem more realistic and engage audiences. Examples like District 9, The Fourth Kind, and Derek use these techniques to varying degrees.
Cinéma vérité is a documentary filmmaking style that combines naturalistic techniques with staged elements. It aims to look truthful or realistic. Over time, cinéma vérité has matured and influenced other genres by making scripted films seem more natural. Directors incorporate techniques like handheld camerawork, interactions with camera operators, and claiming fictional footage is real to manipulate audiences into thinking events are unscripted. This blending of cinéma vérité with other genres heightens realism and excitement.
The document traces the evolution of documentary films from their origins with the Lumière brothers in 1895 to modern styles. It discusses early documentaries like Nanook of the North and Night Mail. Direct Cinema and Cinema Verité emerged in the 1950s-60s with a goal of portraying truth without interference. More recently, mockumentaries have parodied documentary conventions for comic effect.
The history of documentary filmmaking began in 1895 with the Lumiere brothers creating short unedited clips they called "actualities" showing life around them. The more familiar documentary format emerged in 1922 with Nanook of the North, which was the first to use planned scenes to tell a dramatic story. Direct Cinema arose in the 1950s-60s, aiming to present social and political issues in a direct, unmediated way using lighter cameras and film stock. Meanwhile, Cinema Verite used similar techniques to convey a sense that viewers see unfiltered reality, influencing both documentaries and drama films. Recent mockumentaries have further called into question how much we can trust documentary films.
This document provides an overview of documentaries and expository documentaries. It defines a documentary as a film that attempts to document or record aspects of the real world. Expository documentaries specifically use facts and recorded images/sounds to create a socially critical argument or expose a viewpoint. Key features of expository documentaries discussed include the use of narrators, scripts to structure the argument, reconstructions to retell the truth, interviews of eyewitnesses/experts, and mise-en-scene to advance the filmmaker's perspective. Examples like Nanook of the North are analyzed, though some of its scenes are now known to have been staged. The lines between documentary and fiction are also examined.
This document discusses different camera styles used in documentary filmmaking and their implications. It begins by describing how filmmakers often discover important insights too late, after filming is complete. It then discusses the filmmaker's discovery that intercutting shots from multiple camera positions undermined the sense of immediacy they aimed to convey by acknowledging the filmmaking process. This led them to realize fictional film conventions are incompatible with documenting real people and events. The document argues that most shots in fiction films assume an invisible observer and are "privileged" in a way that real life is not.
The document discusses the history and purpose of documentaries. It notes that documentaries began in the late 19th century with short factual films created by the Lumiere Brothers to document aspects of reality. The first feature-length documentary was Nanook of the North from 1922, though the term "documentary" was coined by John Grierson. Documentaries aim to inform and educate audiences based on true facts and real situations. Common documentary techniques discussed include interviews, observations, cutaways, narration, and reenactments.
Codes and conventions of the documentary genreAdamRoberts95
Documentaries employ specific cinematography, editing, and production techniques to convey information in a clear and engaging manner. Interviews are typically filmed with the subject framed to one side of the screen in close-up or medium close-up. Static camerawork on a tripod is common for interviews. A variety of shots like zooms, pans, and crane shots are used alongside handheld footage to capture actual events. Graphics, archive footage, and music are incorporated to illustrate points and anchor discussions. Editing is minimal and aims to seamlessly connect different parts of the documentary through basic cuts.
This document provides revision materials for a GCSE Media Studies exam on television and promoting media. It includes terminology related to film techniques, conventions of television crime dramas, analysis of crime drama representations, facts about British broadcasters BBC and ITV, and sample exam questions. Key points covered are editing techniques, camera shots, sound devices, character archetypes in crime genres, and how social groups are portrayed. Example pleasures of crime dramas discussed are narrative resolution, escapism, and familiarity from recurring characters.
Documentaries have the purpose of documenting and educating about real life situations and events based on facts. The history of documentaries began in the late 19th century with short factual films and the first feature-length documentary in 1922. Documentaries evolved through direct cinema approaches in the 1950s-1960s and utilize various techniques like interviews, narration, and observation to both inform and engage audiences.
This is a comprehensive guide to cinematography. With nearly 60 pages and over 17,000 words of content, you’ll not find a guidebook, resource or textbook that is as detailed, as insightful or as adaptable as this.
The booklet is separated into the generally regarded aspects of cinematography including shot size, camera angle, camera movement, light and colour but also includes detailed explorations of other aspects.
Each section includes detailed explanations, expert analysis and insight, dozens of tasks, dozens of images, links to hundreds of videos on YT and assessments.
This is also a great resource to copy information from and then paste into whatever work you need to set or deliver. This means that you can use this electronic text book as a guide for you as the teacher, as a resource for students to use in the classroom, to be broken up and used as individual worksheets, for revision, for homework, for remote learning or for students who are self-isolating and unable to be in lessons in person.
Written by an experienced teacher, examiner and CPD presenter with extensive experience in writing guides for film studies, I guarantee that this resource will prove to be an invaluable tool for you and your students and worth every penny.
This document discusses conventions of documentary and single camera production. It defines a documentary as a recording of actual events based on people's perspectives or facts. Key conventions include using actual footage, voiceovers, interviews, and text inserts. It also discusses narrative structures like linear, non-linear, and open/closed endings. For single camera production, it notes that one camera is used at a time, allowing flexibility in shots and lighting but requiring more editing. Technical aspects like camerawork, lighting, sound, and scripting are also covered.
There are several types of documentaries:
- Poetic documentaries highlight sentimental aspects of people's lives through camera shots, music, and editing to develop mood.
- Observational documentaries appear to film events as they unfold without interfering, leaving audiences to draw their own conclusions without narration.
- Expository documentaries talk directly to viewers, often with an author's voiceover.
- Participatory documentaries imitate the approach of participant observation where the filmmaker is involved.
- Reflexive documentaries acknowledge the filmmaker's presence and provide narrative about how the film was constructed.
The document discusses documentary filmmaking conventions and styles. It outlines common techniques used in documentaries such as voiceovers, interviews, montages, archival footage, sound, camerawork, and editing. It also describes different documentary styles including expository, observational, reflexive, participatory, and performative styles. These styles vary in their level of impact on audiences, from swaying knowledge to celebrating subjectivity and evoking emotion.
Editing booklet gcse a level film studies revision homework distance lerning ...Ian Moreno-Melgar
This is a comprehensive guide to editing for film studies students and teachers alike. With over 30 pages of content and at over 13,000 words in length, you’ll not find a guidebook, resource or textbook that is as detailed, as insightful or as adaptable as this.
If you like the look of the booklet please find it available to purchase by searching online for FILM STUDIES IAN MORENO-MELGAR SELLFY
The booklet is separated into the aspects of editing that are defined in the specifications of the GCSE and A-Level Film Studies courses from Eduqas/WJEC. The guide then explores ideas relating to pace, transitions, cuts, editing with sound, how editing creates relationships as well as information about visual effects, special effects and CGI in general.
Each section includes detailed explanations, expert analysis and insight, dozens of tasks, dozens of images, links to hundreds of videos on YT, a mini-glossary for students to complete and assessments.
It’s also a great resource to copy information from and then paste into whatever work you need to set or deliver. This means that you can use this electronic text book as a guide for you as the teacher, as a resource for students to use in the classroom, to be broken up and used as individual worksheets, for revision, for homework, for remote learning or for students who are self-isolating and unable to be in lessons in person.
Written by an experienced teacher, examiner and CPD presenter with extensive experience in writing guides for film studies, I guarantee that this resource will prove to be an invaluable tool for you and your students and worth every penny.
Codes and conventions of the documentary dramadaniellecleary
Documentary films employ specific codes and conventions in their narrative structure, camerawork, mise-en-scene, sound, editing, use of archive material, and graphics. Narratives can be open, closed, or circular depending on the subject matter. Camerawork often uses handheld footage for actuality scenes and interviews are framed from the left or right using close-ups or medium close-ups. Sound incorporates a narrator, music, and minimizes background noise while editing employs techniques like cut, dissolve, and montage to engage audiences without distraction. Archive material and graphics are used to contextualize the content and identify interviewees.
The document defines and provides examples of several film styles: Auteur refers to a director with a distinctive style; Avant-Garde films are experimental; Cinema Verite aims to film scenes without interfering in a documentary style; French New Wave reacted against traditional French cinema with unconventional individual director styles; Film Noir are dark crime thrillers characterized by stylized techniques and fatalistic themes such as Double Indemnity.
Documentaries aim to document reality by informing, educating, and entertaining audiences on factual, subject-specific topics. There are various styles of documentary films including direct cinema, cinema verite, fully narrated, fly on the wall, mixed, self-reflexive, docu-drama, and docu-soap. Key elements that may be used include observations, interviews, dramatizations, mise en scene, exposition, and narration. The purpose and techniques used can shape the level of objectivity and truth presented to viewers.
This document provides an overview of key film analysis concepts including mise-en-scene, cinematography, editing, sound, narrative, representation, documentary, animation, and Quebec cinema. It examines these concepts through analysis and examples from films such as Citizen Kane, Run Lola Run, Do the Right Thing, Frankenweenie, and C.R.A.Z.Y. Key techniques are defined for each concept, such as the use of camera angles, movement, and distance in cinematography. Narrative elements like motifs, parallels, and turning points are also discussed.
Questions to answer when analysing a documentaryNWAce
This document outlines 14 questions to consider when analyzing a documentary film. It asks about the film's subject and purpose, whether it makes arguments or critiques positions. It inquires about the use of recorded footage, voiceovers, interviews, and other production elements. It examines how the film is edited, the use of sound and cinematography, and how these aim to communicate the filmmaker's point of view. Finally, it prompts evaluating the effectiveness of the documentary.
This document discusses documentary films and provides context on the genre. It covers several key points:
1) Documentary films aim to show "reality" but are in fact constructed versions of reality that reflect the filmmaker's point of view.
2) The genre has evolved over time, from early films that simply recorded events to styles like direct cinema in the 1960s that used handheld cameras and interviews.
3) Documentaries transform reality through choices like editing, narrative structure, and how information is presented verbally or visually. The end product reflects an interpretation of events rather than a simple recording of them.
Documentaries employ several techniques to convey information and persuade audiences. They use authoritative narration to establish credibility, interviews with experts to authenticate opinions, and interviews with witnesses to provide first-hand accounts. Captions are displayed to inform viewers of key details like dates and locations. Reconstructions with actors reenact events visually and use lighting, costuming, and sound design to set the mood and advance the narrative.
Analysis Of Opening Scene (Rock N Rolla)Robbie Nichol
The opening film techniques of Rock N Rolla establish the gritty criminal tone. Through dirty prison-like titles, shaky camera movements that draw the viewer in, and medium shots that show characters' identities, the film suggests this story will involve petty criminals willing to get their hands dirty. Dark, grey colors, prison-like settings, and characters in muscle shirts cut off from society further position the characters as criminals living a seemingly laid back but potentially violent lifestyle.
El documento describe las características del movimiento cinematográfico británico conocido como Free Cinema entre 1950-1960. Se caracterizó por su implicación social y crítica al cine académico de la época, abordando nuevos temas y personajes del proletariado y la vida cotidiana. Los directores como Lindsay Anderson y Tony Richardson dieron mayor importancia a la narrativa y la mirada personal sobre la puesta en escena. Estuvo ligado a la revista Sequence y realizó adaptaciones que reflejaban los cambios sociales de la época en Gran Bretaña
El documento describe el surgimiento del movimiento cinematográfico conocido como Free Cinema en Gran Bretaña en la década de 1950. Los jóvenes cineastas involucrados, como Lindsay Anderson, Tony Richardson y Karel Reisz, querían crear películas con más libertad y compromiso social que reflejaran la vida cotidiana de una manera realista. Algunas de las películas más representativas de este movimiento fueron Sábado noche, domingo mañana de Karel Reisz y El ingenuo salvaje de Lindsay Anderson.
This document provides an overview of documentaries and expository documentaries. It defines a documentary as a film that attempts to document or record aspects of the real world. Expository documentaries specifically use facts and recorded images/sounds to create a socially critical argument or expose a viewpoint. Key features of expository documentaries discussed include the use of narrators, scripts to structure the argument, reconstructions to retell the truth, interviews of eyewitnesses/experts, and mise-en-scene to advance the filmmaker's perspective. Examples like Nanook of the North are analyzed, though some of its scenes are now known to have been staged. The lines between documentary and fiction are also examined.
This document discusses different camera styles used in documentary filmmaking and their implications. It begins by describing how filmmakers often discover important insights too late, after filming is complete. It then discusses the filmmaker's discovery that intercutting shots from multiple camera positions undermined the sense of immediacy they aimed to convey by acknowledging the filmmaking process. This led them to realize fictional film conventions are incompatible with documenting real people and events. The document argues that most shots in fiction films assume an invisible observer and are "privileged" in a way that real life is not.
The document discusses the history and purpose of documentaries. It notes that documentaries began in the late 19th century with short factual films created by the Lumiere Brothers to document aspects of reality. The first feature-length documentary was Nanook of the North from 1922, though the term "documentary" was coined by John Grierson. Documentaries aim to inform and educate audiences based on true facts and real situations. Common documentary techniques discussed include interviews, observations, cutaways, narration, and reenactments.
Codes and conventions of the documentary genreAdamRoberts95
Documentaries employ specific cinematography, editing, and production techniques to convey information in a clear and engaging manner. Interviews are typically filmed with the subject framed to one side of the screen in close-up or medium close-up. Static camerawork on a tripod is common for interviews. A variety of shots like zooms, pans, and crane shots are used alongside handheld footage to capture actual events. Graphics, archive footage, and music are incorporated to illustrate points and anchor discussions. Editing is minimal and aims to seamlessly connect different parts of the documentary through basic cuts.
This document provides revision materials for a GCSE Media Studies exam on television and promoting media. It includes terminology related to film techniques, conventions of television crime dramas, analysis of crime drama representations, facts about British broadcasters BBC and ITV, and sample exam questions. Key points covered are editing techniques, camera shots, sound devices, character archetypes in crime genres, and how social groups are portrayed. Example pleasures of crime dramas discussed are narrative resolution, escapism, and familiarity from recurring characters.
Documentaries have the purpose of documenting and educating about real life situations and events based on facts. The history of documentaries began in the late 19th century with short factual films and the first feature-length documentary in 1922. Documentaries evolved through direct cinema approaches in the 1950s-1960s and utilize various techniques like interviews, narration, and observation to both inform and engage audiences.
This is a comprehensive guide to cinematography. With nearly 60 pages and over 17,000 words of content, you’ll not find a guidebook, resource or textbook that is as detailed, as insightful or as adaptable as this.
The booklet is separated into the generally regarded aspects of cinematography including shot size, camera angle, camera movement, light and colour but also includes detailed explorations of other aspects.
Each section includes detailed explanations, expert analysis and insight, dozens of tasks, dozens of images, links to hundreds of videos on YT and assessments.
This is also a great resource to copy information from and then paste into whatever work you need to set or deliver. This means that you can use this electronic text book as a guide for you as the teacher, as a resource for students to use in the classroom, to be broken up and used as individual worksheets, for revision, for homework, for remote learning or for students who are self-isolating and unable to be in lessons in person.
Written by an experienced teacher, examiner and CPD presenter with extensive experience in writing guides for film studies, I guarantee that this resource will prove to be an invaluable tool for you and your students and worth every penny.
This document discusses conventions of documentary and single camera production. It defines a documentary as a recording of actual events based on people's perspectives or facts. Key conventions include using actual footage, voiceovers, interviews, and text inserts. It also discusses narrative structures like linear, non-linear, and open/closed endings. For single camera production, it notes that one camera is used at a time, allowing flexibility in shots and lighting but requiring more editing. Technical aspects like camerawork, lighting, sound, and scripting are also covered.
There are several types of documentaries:
- Poetic documentaries highlight sentimental aspects of people's lives through camera shots, music, and editing to develop mood.
- Observational documentaries appear to film events as they unfold without interfering, leaving audiences to draw their own conclusions without narration.
- Expository documentaries talk directly to viewers, often with an author's voiceover.
- Participatory documentaries imitate the approach of participant observation where the filmmaker is involved.
- Reflexive documentaries acknowledge the filmmaker's presence and provide narrative about how the film was constructed.
The document discusses documentary filmmaking conventions and styles. It outlines common techniques used in documentaries such as voiceovers, interviews, montages, archival footage, sound, camerawork, and editing. It also describes different documentary styles including expository, observational, reflexive, participatory, and performative styles. These styles vary in their level of impact on audiences, from swaying knowledge to celebrating subjectivity and evoking emotion.
Editing booklet gcse a level film studies revision homework distance lerning ...Ian Moreno-Melgar
This is a comprehensive guide to editing for film studies students and teachers alike. With over 30 pages of content and at over 13,000 words in length, you’ll not find a guidebook, resource or textbook that is as detailed, as insightful or as adaptable as this.
If you like the look of the booklet please find it available to purchase by searching online for FILM STUDIES IAN MORENO-MELGAR SELLFY
The booklet is separated into the aspects of editing that are defined in the specifications of the GCSE and A-Level Film Studies courses from Eduqas/WJEC. The guide then explores ideas relating to pace, transitions, cuts, editing with sound, how editing creates relationships as well as information about visual effects, special effects and CGI in general.
Each section includes detailed explanations, expert analysis and insight, dozens of tasks, dozens of images, links to hundreds of videos on YT, a mini-glossary for students to complete and assessments.
It’s also a great resource to copy information from and then paste into whatever work you need to set or deliver. This means that you can use this electronic text book as a guide for you as the teacher, as a resource for students to use in the classroom, to be broken up and used as individual worksheets, for revision, for homework, for remote learning or for students who are self-isolating and unable to be in lessons in person.
Written by an experienced teacher, examiner and CPD presenter with extensive experience in writing guides for film studies, I guarantee that this resource will prove to be an invaluable tool for you and your students and worth every penny.
Codes and conventions of the documentary dramadaniellecleary
Documentary films employ specific codes and conventions in their narrative structure, camerawork, mise-en-scene, sound, editing, use of archive material, and graphics. Narratives can be open, closed, or circular depending on the subject matter. Camerawork often uses handheld footage for actuality scenes and interviews are framed from the left or right using close-ups or medium close-ups. Sound incorporates a narrator, music, and minimizes background noise while editing employs techniques like cut, dissolve, and montage to engage audiences without distraction. Archive material and graphics are used to contextualize the content and identify interviewees.
The document defines and provides examples of several film styles: Auteur refers to a director with a distinctive style; Avant-Garde films are experimental; Cinema Verite aims to film scenes without interfering in a documentary style; French New Wave reacted against traditional French cinema with unconventional individual director styles; Film Noir are dark crime thrillers characterized by stylized techniques and fatalistic themes such as Double Indemnity.
Documentaries aim to document reality by informing, educating, and entertaining audiences on factual, subject-specific topics. There are various styles of documentary films including direct cinema, cinema verite, fully narrated, fly on the wall, mixed, self-reflexive, docu-drama, and docu-soap. Key elements that may be used include observations, interviews, dramatizations, mise en scene, exposition, and narration. The purpose and techniques used can shape the level of objectivity and truth presented to viewers.
This document provides an overview of key film analysis concepts including mise-en-scene, cinematography, editing, sound, narrative, representation, documentary, animation, and Quebec cinema. It examines these concepts through analysis and examples from films such as Citizen Kane, Run Lola Run, Do the Right Thing, Frankenweenie, and C.R.A.Z.Y. Key techniques are defined for each concept, such as the use of camera angles, movement, and distance in cinematography. Narrative elements like motifs, parallels, and turning points are also discussed.
Questions to answer when analysing a documentaryNWAce
This document outlines 14 questions to consider when analyzing a documentary film. It asks about the film's subject and purpose, whether it makes arguments or critiques positions. It inquires about the use of recorded footage, voiceovers, interviews, and other production elements. It examines how the film is edited, the use of sound and cinematography, and how these aim to communicate the filmmaker's point of view. Finally, it prompts evaluating the effectiveness of the documentary.
This document discusses documentary films and provides context on the genre. It covers several key points:
1) Documentary films aim to show "reality" but are in fact constructed versions of reality that reflect the filmmaker's point of view.
2) The genre has evolved over time, from early films that simply recorded events to styles like direct cinema in the 1960s that used handheld cameras and interviews.
3) Documentaries transform reality through choices like editing, narrative structure, and how information is presented verbally or visually. The end product reflects an interpretation of events rather than a simple recording of them.
Documentaries employ several techniques to convey information and persuade audiences. They use authoritative narration to establish credibility, interviews with experts to authenticate opinions, and interviews with witnesses to provide first-hand accounts. Captions are displayed to inform viewers of key details like dates and locations. Reconstructions with actors reenact events visually and use lighting, costuming, and sound design to set the mood and advance the narrative.
Analysis Of Opening Scene (Rock N Rolla)Robbie Nichol
The opening film techniques of Rock N Rolla establish the gritty criminal tone. Through dirty prison-like titles, shaky camera movements that draw the viewer in, and medium shots that show characters' identities, the film suggests this story will involve petty criminals willing to get their hands dirty. Dark, grey colors, prison-like settings, and characters in muscle shirts cut off from society further position the characters as criminals living a seemingly laid back but potentially violent lifestyle.
El documento describe las características del movimiento cinematográfico británico conocido como Free Cinema entre 1950-1960. Se caracterizó por su implicación social y crítica al cine académico de la época, abordando nuevos temas y personajes del proletariado y la vida cotidiana. Los directores como Lindsay Anderson y Tony Richardson dieron mayor importancia a la narrativa y la mirada personal sobre la puesta en escena. Estuvo ligado a la revista Sequence y realizó adaptaciones que reflejaban los cambios sociales de la época en Gran Bretaña
El documento describe el surgimiento del movimiento cinematográfico conocido como Free Cinema en Gran Bretaña en la década de 1950. Los jóvenes cineastas involucrados, como Lindsay Anderson, Tony Richardson y Karel Reisz, querían crear películas con más libertad y compromiso social que reflejaran la vida cotidiana de una manera realista. Algunas de las películas más representativas de este movimiento fueron Sábado noche, domingo mañana de Karel Reisz y El ingenuo salvaje de Lindsay Anderson.
El Free Cinema buscaba acercarse a los seres anónimos de la sociedad a través de un cine documental y neorrealista rodado con pequeños equipos y de forma independiente. Sus películas mostraban un inconformismo social y una crítica a la burguesía, reflejando la tristeza de la vida urbana. Directores como Tony Richardson y Karel Reisz fueron figuras insignia de este movimiento y de la nueva ola británica, renovando el lenguaje cinematográfico a través de un enfoque humano y compromiso social.
El documento describe el movimiento cinematográfico británico conocido como Free Cinema, que se desarrolló entre 1956 y 1966. Se caracterizó por producir documentales y largometrajes comprometidos socialmente que reflejaban la vida cotidiana y los conflictos de la clase trabajadora británica. Algunos de los cineastas clave de este movimiento fueron Karel Reisz, Lindsay Anderson y Tony Richardson, quienes criticaron el cine de estudio convencional y demandaron películas con mayor libertad y compromiso social.
El documento resume las características del movimiento cinematográfico conocido como Free Cinema que surgió en Gran Bretaña entre los años 1950 y 1960. Algunas de sus características incluyen una renovación generacional e independencia industrial, así como un enfoque en temas sociales y personajes de ambientes realistas. Entre los directores representativos se encuentran Lindsay Anderson, Karel Reisz, Tony Richardson, John Schlesinger y Richard Lester.
The document analyzes different modes of documentary filmmaking, including observational, reflexive, expository, poetic, participatory, and performative. Observational documentaries simply observe subjects without interference through techniques like fly-on-the-wall filming. Reflexive documentaries acknowledge the filmmaking process. Expository documentaries use techniques like narration and rhetoric to expose a topic and convince audiences. Poetic documentaries rely on atmosphere and interpretation over narrative. Participatory documentaries involve interaction between filmmakers and subjects. Performative documentaries focus on the filmmaker's subjective experiences.
The document introduces the concept of documentaries by discussing their purpose and conventions. It notes that documentaries aim to inform or entertain about real situations and issues using actual evidence rather than fiction. They typically have a narrative structure and rely on techniques like interviews and commentary to present a particular interpretation of events and reveal things to audiences they may be unaware of. However, all documentaries involve some degree of selection, organization and focus that shape the representation of reality presented.
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The document discusses six modes of documentary film identified by Bill Nichols: expository, poetic, observational, participatory, performative, and reflexive. It provides examples for each mode. The expository mode uses a voiceover to directly address the viewer. Poetic documentaries are subjective and focus on imagery over narrative. Observational documentaries act as impartial spectators. Participatory documentaries involve the filmmaker interacting with subjects. Performative documentaries acknowledge their constructed nature. Reflexive documentaries emphasize subjectivity and emotional impact.
This document discusses different genres and theories of genres that can be applied to documentary filmmaking. It defines genres as classes or types of media defined by common conventions. Documentaries specifically are meant to document aspects of reality in a nonfictional manner. The document outlines several subgenres of documentaries, including actuality films, poetic documentaries, expository documentaries, observational documentaries, participatory documentaries, and reflexive documentaries. It also discusses genre theorists Nicolas Aracrombie and Rick Altman and how their theories on permeable genres and audience pleasures can be applied to developing a documentary genre blend and creating an emotionally engaging audience experience.
The document discusses various techniques used in documentary films to present real events and their impact on spectators. It describes common documentary conventions like using natural lighting, interviews, voiceovers, and reconstructions to appear more authentic. However, it notes that these are just conventions and the selection and construction of footage can manipulate viewers just as fiction films do. Viewers must examine how 'real' events are presented and how that might influence their perspective.
A reflective documentary exposes aspects of its own production and construction. It allows viewers insight into how the film is made in addition to its content. Nick Broomfield and Louis Theroux are known for their reflective style, often filming with minimal crews to seem more personal. They also directly participate in the activities they document while maintaining detachment. Reflective documentaries engage audiences by revealing the filmmaking challenges and striving for truthfulness with little editing. However, the filmmaker's narration can sway the viewer's opinions.
The document discusses postmodern views of documentaries. It notes that while documentaries aim to represent everyday reality, they are inherently subjective reconstructions due to choices made during filming and editing. Documentaries encourage a certain perspective and cannot perfectly capture reality. Their version of reality is mediated through the filmmaker's perspective. Postmodernists like Baudrillard argue that representations are staged and narrated, not capturing the real, and that reconstructed media saturates audiences who can no longer identify truth. Ultimately, documentaries only blur the line between reality and hyperreality due to their constructed nature.
6 modes of documentries for slide sharejakeredshaw
There are 6 modes of documentary filmmaking described in the document:
1. Expository mode uses a narrator and scripted commentary to accompany and illustrate visuals.
2. Observational mode aims to observe events without involvement or influence, capturing raw footage of natural, unstaged events.
3. Participatory mode involves the filmmaker engaging directly with subjects to investigate topics and explore questions, making them an integral part of the film.
The document discusses different styles and types of films including realism, classicism, and formalism. It provides characteristics of each style and describes how formalist films emphasize technique and expression, classical films have believable narratives, and realist films attempt to reproduce reality with minimal distortion. The document also discusses genres, film roles including directors, producers and screenwriters, and narrative structures such as classical, formalist, and documentary.
This document discusses several types of documentaries and their characteristics. Fly-on-the-wall documentaries simply observe and record real events without interference. Direct cinema also aims to directly observe reality without bias or staging. Video diaries allow subjects to film themselves, while theatrical documentaries are released in theaters and feature charismatic narrators. Docusoaps and mockumentaries blend documentary and drama for entertainment, and fully narrated documentaries explain visuals with voiceovers. Mixed documentaries incorporate several styles.
There are 6 modes of documentaries described by theorist Bill Nichols: poetic, expository, observational, participatory, reflexive, and performative. Each mode has different characteristics in terms of perspective, use of voiceover, level of involvement, and goal. For example, the poetic mode uses selective information to create a biased interpretation, while the observational mode passively documents events without interference. The document discusses examples like High School to illustrate each mode. It notes that modes are not mutually exclusive and documentary films often incorporate elements of multiple approaches.
This document discusses postmodern perspectives on documentaries and their construction of reality. It notes that while documentaries aim to represent everyday reality, they are inherently subjective due to choices made during filming, editing, and narration. Reality is staged and reconstructed through these documentary techniques. Postmodern thinkers like Baudrillard have criticized how documentaries create a "simulacrum" or hyperreal version of reality that blurs the lines between real and constructed. Ultimately, the document concludes that documentaries can never fully or objectively capture reality due to the many subjective decisions that shape them.
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The document outlines Bill Nichols' 6 modes of documentary filmmaking: poetic, expository, observational, participatory, reflexive, and performative. It provides definitions and examples for each mode. The poetic mode uses selective information to create a biased viewpoint, while the expository mode features direct narration to make an argument. The observational mode takes an unobtrusive, passive approach. The participatory and reflexive modes intentionally construct scenarios to influence viewers, and the performative mode focuses on the filmmaker's personal experiences.
This document provides an overview of different styles and types of films including realism, classicism, and formalism. It discusses the key characteristics of each style such as realism attempting to reproduce reality with minimal distortion, classicism deriving from live theater with an entertaining story, and formalism expressing subjective experiences through stylistic techniques. The document also covers genres, narrative structures, roles of the director, producer and screenwriter, and figurative techniques used in film.
This document provides an overview of different styles and types of films including realism, classicism, and formalism. It discusses the key characteristics of each style such as realism attempting to reproduce reality with minimal distortion, classicism deriving from live theater with an entertaining story, and formalism expressing subjective experiences through stylistic techniques. The document also covers genres, narrative structures, roles of the director, producer and screenwriter, and figurative techniques used in films.
1. Portmanteau films tell stories in a non-linear way, comprising several short, interconnected narratives rather than a single linear plot. They take various forms such as anthology films from different directors set in the same location.
2. Examples include Pulp Fiction, Sin City, and Jim Jarmusch films which experiment with structures like different stories connected by a single event.
3. Portmanteau films appeal to directors seeking to innovate and audiences who enjoy piecing together meaning, and help production companies manage risk through ensemble casts.
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The document discusses themes related to urban stories and films about power, poverty, and conflict. It provides context on films like "La Haine" and "City of God" that portray cultures dominated by powerful ideologies and the inability to form relationships due to social conditions. Issues covered include feelings of insignificance, violence, and conflicts arising from social/cultural environments. The document also analyzes how these films use aspects like mise-en-scene and sound to generate meaning and emotional responses regarding the issues presented.
Verisimilitude refers to how realistic or truthful a narrative appears. It comes from the Latin words for "truth" and "similar." Verisimilitude in film is important for creating believability, and it can be achieved through generic conventions that audiences expect or through reflecting broader social norms. Certain film genres rely more on cultural verisimilitude for realism, while aspects that violate culture norms may attract audiences the most. Cinéma vérité documentaries aim for maximum verisimilitude through capturing experiences in an unedited, unobtrusive manner as possible to portray events as they unfold without camera influence.
This document provides a detailed analysis of the narrative structure, plot, characters, and cultural context of the 1999 film Fight Club. It analyzes the story, plot, plot structure including inciting moment, key scene, turning point and climax. It examines the main conflict lines in the film around illusion vs reality, order vs chaos, human vs society, human vs god, and past vs future. It also analyzes the characters of Jack, Tyler Durden, Marla, and the Boss. Overall, the document provides a concise yet comprehensive summary and analysis of key elements of the narrative and themes of Fight Club.
1. The genres are alternative rock (Nirvana), pop/dance (Lady Gaga), and alternative rock (Radiohead).
2. The audiences are male teens/young adults (Nirvana), mainstream pop fans (Lady Gaga), and alternative/indie fans (Radiohead).
3. The conventions are loud guitars and angst (Nirvana), danceable pop with flamboyant visuals (Lady Gaga), experimental rock/electronica (Radiohead).
4. The production models have changed
The document discusses the television show Lost, which is coming to an end with its sixth and final season in 2010. It explores how Lost has challenged audiences with its philosophical mysteries and lack of resolution. Specifically:
- Lost provided viewers with a sense of escapism and adventure through its many mysteries and unknowns over five seasons.
- As the show comes to an end, some fans may not want a conclusion as it will end speculation and debate over the show's meanings and theories.
- Leaving questions unanswered allows shows like Lost and Twin Peaks to remain culturally relevant for a long time, as fans continue discussing possible explanations even years later.
- The author hopes Lost does not clearly resolve
Fight Club has been interpreted as having both right-wing and left-wing political messages. However, the director David Fincher has said the film was not meant to strongly advocate any single political stance. While the film depicts the cult-like group Project Mayhem and its calls for violence, Fincher sees this as representing the main character's mental instability and addiction to pain, rather than promoting any political ideology. Ultimately, the film is a critique of consumer culture that leaves people feeling empty, and highlights how this can lead one to seek meaning in extremist groups.
This document provides an analysis of the 1999 film Fight Club, directed by David Fincher. It includes descriptions of 6 important scenes from the film, analyzing the narrative and stylistic features. It also discusses whether the film can be seen as homoerotic or misogynistic. Additional sections analyze the film's representation of masculinity in crisis, mytho-poetic essentialism, male relationships, and fetishization of the male body. Philosophical perspectives from Nietzsche and Marx are discussed. The document also explores postmodern and social/cultural theories that can be applied to understanding the film.
This document provides examination tips and a checklist for answering essay questions about the films "La Haine", "City of God", and "Chungking Express". It emphasizes directly answering the question by referring to film sequences and using film language and key issues like representation, narrative, and social issues. Candidates should compare and contrast the films, discuss characters and sequences, and support their own opinions about the films with evidence from the sequences.
Wes Anderson's film The Grand Budapest Hotel was influenced by the films of Ernst Lubitsch in its fast-paced dialogue, elaborate chase sequences, and focus on a charming protagonist. Anderson conducted research including visiting hotels, studying historic photos, and drawing inspiration from Lubitsch's artistic style of intricate sets and dynamic camerawork. The film uses a complex narrative framework borrowing from Austrian writer Stefan Zweig to tell the story of the Grand Budapest Hotel and its legendary concierge, Monsieur Gustave.
Under the Skin is Jonathan Glazer's adaptation of Michel Faber's novel of the same name. It stars Scarlett Johansson as an extraterrestrial who takes the form of a young woman and drives around Scotland, picking up hitchhikers. Many of the men she interacts with were actually non-actors who were unaware they were being filmed. The film uses a mix of surreal, dreamlike imagery and realistic scenes to portray the alien's experience on Earth. It received polarized reactions from critics for its radical difference from other films and the way it forces viewers to reconsider how they see the world.
The auteur theory examines films and argues that some directors have a recognizable personal "signature" or style. It holds that the director is the primary creative force in a film's production and has primary authorship over it. The theory focuses on the director's artistic control over the various elements that shape the film such as cinematography, editing, and screenwriting.
The auteur theory examines films and argues that some directors have a recognizable personal "signature" or style. It holds that the director is the primary creative force in a film's production and has primary authorship over it. The theory focuses on the director's artistic control over the various elements that shape the film such as cinematography, editing, and screenwriting.
The document provides guidance for answering exam questions about films that depict "Living With Crime". It suggests focusing on how the circumstances and choices available to characters relate to their social class. Responses should discuss how film techniques like cinematography, lighting and editing represent social class. The best answers will recognize that films construct social representations and that social class is constructed through both macro elements of genre and narrative as well as micro elements.
La Haine follows three young friends, Vinz, Hubert, and Saïd, in the suburbs of Paris over the course of a tense day. Rioting has erupted due to injuries suffered by Abdel in police custody. Vinz obtains a gun lost by police during the riots and intends to avenge Abdel if he dies. As tensions rise, the three friends spend the day together in Paris and the suburbs. Upon learning that Abdel has died, Vinz becomes increasingly volatile. At the end, Vinz is shot and killed by a plainclothes police officer, and Hubert confronts the officer with a gun, leaving the ending ambiguous.
This 12 shot sequence documents a confrontation between a main character and antagonist in a Film Noir style. Shot 1 introduces the main character descending stairs in low key lighting. In shot 5, the character walks down the street in natural lighting while narrating in voiceover. The antagonist interrupts in shot 6; their heated discussion is captured in shots 7-12 with escalating tension, punctuated by the antagonist's aggressive pointing and grabbing depicted in close-ups against a backdrop of a tree and church.
The document discusses conventions commonly seen in horror films. It lists several iconic horror films and the subgenres they represent, such as slasher, torture porn, and monster films. It then outlines techniques horror films use to unsettle and discomfort viewers, like increasing heart rate and invoking fears. Finally, it details some common fears reinforced in horror, like nightmares, vulnerability, and death. It provides examples of typical horror conventions like isolated settings, masked killers who use weapons like knives, and characters archetypes like teenagers and final girls.
From Teacher to OnlyFans: Brianna Coppage's Story at 28get joys
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Christian Louboutin: Innovating with Red Solesget joys
Christian Louboutin is celebrated for his innovative approach to footwear design, marked by his trademark red soles. This in-depth look at his life and career explores the origins of his creativity, the milestones in his journey, and the impact of his work on the fashion industry. Learn how Louboutin's bold vision and dedication to excellence have made his brand synonymous with luxury and style.
Leonardo DiCaprio House: A Journey Through His Extravagant Real Estate Portfoliogreendigital
Introduction
Leonardo DiCaprio, A name synonymous with Hollywood excellence. is not only known for his stellar acting career but also for his impressive real estate investments. The "Leonardo DiCaprio house" is a topic that piques the interest of many. as the Oscar-winning actor has amassed a diverse portfolio of luxurious properties. DiCaprio's homes reflect his varied tastes and commitment to sustainability. from retreats to historic mansions. This article will delve into the fascinating world of Leonardo DiCaprio's real estate. Exploring the details of his most notable residences. and the unique aspects that make them stand out.
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Leonardo DiCaprio House: Malibu Beachfront Retreat
A Prime Location
His Malibu beachfront house is one of the most famous properties in Leonardo DiCaprio's real estate portfolio. Situated in the exclusive Carbon Beach. also known as "Billionaire's Beach," this property boasts stunning ocean views and private beach access. The "Leonardo DiCaprio house" in Malibu is a testament to the actor's love for the sea and his penchant for luxurious living.
Architectural Highlights
The Malibu house features a modern design with clean lines, large windows. and open spaces blending indoor and outdoor living. The expansive deck and patio areas provide ample space for entertaining guests or enjoying a quiet sunset. The house has state-of-the-art amenities. including a gourmet kitchen, a home theatre, and many guest suites.
Sustainable Features
Leonardo DiCaprio is a well-known environmental activist. whose Malibu house reflects his commitment to sustainability. The property incorporates solar panels, energy-efficient appliances, and sustainable building materials. The landscaping around the house is also designed to be water-efficient. featuring drought-resistant plants and intelligent irrigation systems.
Leonardo DiCaprio House: Hollywood Hills Hideaway
Privacy and Seclusion
Another remarkable property in Leonardo DiCaprio's collection is his Hollywood Hills house. This secluded retreat offers privacy and tranquility. making it an ideal escape from the hustle and bustle of Los Angeles. The "Leonardo DiCaprio house" in Hollywood Hills nestled among lush greenery. and offers panoramic views of the city and surrounding landscapes.
Design and Amenities
The Hollywood Hills house is a mid-century modern gem characterized by its sleek design and floor-to-ceiling windows. The open-concept living space is perfect for entertaining. while the cozy bedrooms provide a comfortable retreat. The property also features a swimming pool, and outdoor dining area. and a spacious deck that overlooks the cityscape.
Environmental Initiatives
The Hollywood Hills house incorporates several green features that are in line with DiCaprio's environmental values. The home has solar panels, energy-efficient lighting, and a rainwater harvesting system. Additionally, the landscaping designed to support local wildlife and promote
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The Future of Independent Filmmaking Trends and Job OpportunitiesLetsFAME
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Introduction
In the realm of entertainment, few names resonate as Orpah Winfrey Dwayne Johnson. Both figures have carved unique paths in the industry. achieving unparalleled success and becoming iconic symbols of perseverance, resilience, and inspiration. This article delves into the lives, careers. and enduring legacies of Orpah Winfrey Dwayne Johnson. exploring how their journeys intersect and what we can learn from their remarkable stories.
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Early Life and Backgrounds
Orpah Winfrey: From Humble Beginnings to Media Mogul
Orpah Winfrey, often known as Oprah due to a misspelling on her birth certificate. was born on January 29, 1954, in Kosciusko, Mississippi. Raised in poverty by her grandmother, Winfrey's early life was marked by hardship and adversity. Despite these challenges. she demonstrated a keen intellect and an early talent for public speaking.
Winfrey's journey to success began with a scholarship to Tennessee State University. where she studied communication. Her first job in media was as a co-anchor for the local evening news in Nashville. This role paved the way for her eventual transition to talk show hosting. where she found her true calling.
Dwayne Johnson: From Wrestling Royalty to Hollywood Superstar
Dwayne Johnson, also known by his ring name "The Rock," was born on May 2, 1972, in Hayward, California. He comes from a family of professional wrestlers, with both his father, Rocky Johnson. and his grandfather, Peter Maivia, being notable figures in the wrestling world. Johnson's early life was spent moving between New Zealand and the United States. experiencing a variety of cultural influences.
Before entering the world of professional wrestling. Johnson had aspirations of becoming a professional football player. He played college football at the University of Miami. where he was part of a national championship team. But, injuries curtailed his football career, leading him to follow in his family's footsteps and enter the wrestling ring.
Career Milestones
Orpah Winfrey: The Queen of All Media
Winfrey's career breakthrough came in 1986 when she launched "The Oprah Winfrey Show." The show became a cultural phenomenon. drawing millions of viewers daily and earning many awards. Winfrey's empathetic and candid interviewing style resonated with audiences. helping her tackle diverse and often challenging topics.
Beyond her talk show, Winfrey expanded her empire to include the creation of Harpo Productions. a multimedia production company. She also launched "O, The Oprah Magazine" and OWN: Oprah Winfrey Network, further solidifying her status as a media mogul.
Dwayne Johnson: From The Ring to The Big Screen
Dwayne Johnson's wrestling career took off in the late 1990s. when he became one of the most charismatic and popular figures in WWE. His larger-than-life persona and catchphrases endeared him to fans. making him a household name. But, Johnson had ambitions beyond the wrestling ring.
In the early 20
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Introduction
The notion of Dwayne Johnson kidnapping seems straight out of a Hollywood thriller. Dwayne "The Rock" Johnson, known for his larger-than-life persona, immense popularity. and action-packed filmography, is the last person anyone would envision being a victim of kidnapping. Yet, the bizarre and riveting tale of such an incident, filled with twists and turns. has captured the imagination of many. In this article, we delve into the intricate details of this astonishing event. exploring every aspect, from the dramatic rescue operation to the aftermath and the lessons learned.
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The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
Johnson's filmography includes blockbuster hits such as "The Fast and the Furious" series, "Jumanji," "Moana," and "San Andreas." His charismatic personality, impressive physique. and action-star status have made him a beloved figure worldwide. Thus, the news of his kidnapping would send shockwaves across the globe.
Setting the Scene: The Day of the Kidnapping
The incident of Dwayne Johnson's kidnapping began on an ordinary day. Johnson was filming his latest high-octane action film set to break box office records. The location was a remote yet scenic area. chosen for its rugged terrain and breathtaking vistas. perfect for the film's climactic scenes.
But, beneath the veneer of normalcy, a sinister plot was unfolding. Unbeknownst to Johnson and his team, a group of criminals had planned his abduction. hoping to leverage his celebrity status for a hefty ransom. The stage was set for an event that would soon dominate worldwide headlines and social media feeds.
The Abduction: Unfolding the Dwayne Johnson Kidnapping
The Moment of Capture
On the day of the kidnapping, everything seemed to be proceeding as usual on set. Johnson and his co-stars and crew were engrossed in shooting a particularly demanding scene. As the day wore on, the production team took a short break. providing the kidnappers with the perfect opportunity to strike.
The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
The Immediate Aftermath
The immediate aftermath of the Dwayne Johnson kidnappin
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Cinema verite
1. Cinema Verite : Definitions and Background
At its very simplest, cinema verite might be defined as a filming
method employing hand-held cameras and live, synchronous
sound . This description is incomplete, however, in that it emphasizes
technology at the expense of filmmaking philosophy. Beyond
recording means, cinema verite indicates a position the
filmmaker takes in regard to the world he films.
The term has been debased through loose critical usage, and
the necessary distinction between cinema-verite films and cinema
-verite techniques is often lost. The techniques are surely applicable
in many filming situations, but our exclusive concern
here is for cinema-verite documentaries , as will become clear
through further definition. Even granting the many film types
within the cinema-verite spectrum (where, for instance, most
Warhol films would be placed), it is still possible to speak of cinema
verite as an approach divorced from fictional elements. The
influence of fictional devices upon cinema-verite documentaries
is an important issue, but the two can be spoken of as separate
entities.
Cinema verite in many forms has been practiced throughout the
world , most notably in America , France, and Canada. The term
first gained popular currency in the early sixties as a description
of Jean Rouch's Chronique d 'un Ete. To embrace the disparate
output of Rouch, Marker, Ruspoli, Perrault, Brault, Koenig, Kroi-
tor, Jersey, Leacock, and all the others under one banner is to
obscure the wide variance in outlook and method that separates
American cinema verite from the French or Canadian variety and
further to fail to take into account differences within the work of
one country or even one filmmaker . Just as Rouch and Marker
have distinct approaches, the Marker of Lettre de Siberie is not
the Marker of Le Joli Mai.
Because cinema verite in all its forms is so varied, we shall concentrate
on one relativelydistinct branch. The work of Americans
Robert Drew, Richard Leacock, D. A. Pennebaker, the Maysles
Brothers, and Frederick Wiseman presents a sufficiently consistent
filmmaking philosophy to allow for independent discussion.
2. Happily, for critical purposes, enough diversity is also present to
allow exploration of a range of responses to key cinema-verite
questions. But in all ensuing discussion, it should be clear that
cinema verite is being employed under deliberately arbitrary circumstances
, more in the context of what the American outlook
expresses and as I envision a certain ideal for this kind of filming
than as a universally applicable term.
The problem is further confused by terminology . Cinema verite
is a pretentious label that few filmmakers and critics have much
use for. In America , and to some extent in France, the term direct
cinema is preferred, although that too with some reservation.
I prefer the French designation if only for its now traditional association
with the nonfiction film. Any use of direct cinema in the
chapters that follow is intended to be synonymous . Most important
, cinema verite is not to be translated literally, for claims to
higher truth by proponents of these films will not concern us.
The essential element in cinema verite is the act of filming real
people in uncontrol led situations. Uncontrolled means that the
filmmaker does not function as a "director " nor, for that matter,
as a screenwriter. In a cinema-verite film, no one is told what to
say or how to act. A prepared script, however skimpy, is not permissible
, nor are verbal suggestions, gestures, or any form of direct
communication from the filmmaker to his subject. The filmmaker
should in no way indicate that any action is preferred by
him over any other. The filmmaker acts as an observer, attempting
not to alter the situations he witnesses any more than he
must simply by being there (along with, usually, another person
recording sound). Cinema verite has a faith in the spontaneous;
the unwillingness to assert control goes so far as to refuse to recreate
events, to have people repeat actions for the sake of being
filmed. Interviews are also not employed, since their use, in effect,
is a form of directed behavior.
The meaning of the term real people develops from the commitment
to uncontrol led shooting. Real indicates not only avoiding
the use of professional actors (unless, of course, we see them as
CinemaVerite: Definitionsand Background 2
3. CinemaVerite: Definitionsand Background 3
actors) but also not placing nonactors into roles selected by the
filmmaker , even to "play" themselves. Cinema verite asks nothing
of people beyond their permission to be filmed.
The need for portable equipment is a result of the desire to
shoot in uncontrol led situations. Instead of having people come
to the camera, the camera goes to them. The filmmaker must be
free to follow action without dominating it through sheer mechanical
presence. Tripods, heavy lights, cables, and the rest of the
paraphernalia of studio shooting are eliminated. The filmmaker is
a reporter with a camera instead of a notebook .
Editing of footage shot in this fashion attempts to re-create
events as the filmmaker witnessed them. An outcome of the cinema
-verite approach is that it integrates the filmmaking process:
selecting a subject, filming it, and editing the raw footage become
continuous steps in a single effort and not discretely assignable
tasks. The connection between the uncontrol led event and the
finished film is enforced by the filmmaker 's functioning as his
own editor. The footage shot can then be judged while editing as
much by what is missing as by what is present. The idea is that
the film will not contradict the events themselves through an ordering
of shots, juxtaposition of sequences, or use of other manipulative
devices at variance with the filmmaker 's own response
as an actual witness. When editing is viewed as an independent
function , left to people who did not participate in the filming , a
whole new set of priorities and blases, based solely on the footage
, can conflict with the commitment not to distort the event itself
.
Editing, of course, is a selective process and inevitably implies at
least some shaping of the material. Use of the word re-create
allows for a variety of responses in editing, and a cinema-verite
film does bear the selective influence of its creator . However, the
respect in shooting for noninterference carries over as the determining
force in the form of the final film. Even though reality is
filtered through one sensibility, the filmmaker tries not to shape
his material on the basis of limiting preconceptions .
4. Background
In line with this commitment , some of the standard devices of
fiction film and traditional documentaries fall by the wayside, especially
music and narration. The former is never added (one of
the few generalities about these films that nearly always applies),
and the latter, if necessary at all, should do no more than provide
facts essential to following events on the screen. Whatever the
filmmaker 's initial interest in the subject, the final film does not
try to make the material seem as if it was included for the purpose
of proving one specific point. The lack of "mood" music
and guiding narration are part of a general outlook that does not
try to push the viewer in one direction and one direction only.
Room is left for responses as individual and complex as the situation
itself.
Cinema verite as we are speaking of it, then, is an attempt to
strip away the accumulated conventions of traditional cinema in
the hope of rediscovering a reality that eludes other forms of filmmaking
and reporting . Cinema verite is a strict discipline only because
it is in many ways so simple, so "direct." The filmmaker
attempts to eliminate as much as possible the barriers between
subject and audience. These barriers are technical (large crews,
studio sets, tripod-mounted equipment , special lights, costumes,
and makeup), procedural (scripting , acting, directing), and structural
(standard editing devices, traditional forms of melodrama,
suspense, etc.). Cinema verite is a practical working method
based upon a faith in unmanipulated reality, a refusal to tamper
with life as it presents itself. Any kind of cinema is a process of
selection, but there is (or should be) all the difference in the
world between the cinema-verite aesthetic and the methods of
fictional and traditional documentary film.
Unfortunately, some writers have claimed that cinema verite
practically makes other film methods obsolete.1We should view
such claims in a dialectical spirit, for while this kind of filming
questions many assumptions of fiction films (as well as providing
fiction filming with new devices to exploit), it will certainly never
displace fiction film any more than photography has replaced
4Cinema Verite: Definitions and
5. painting. Still, cinema verite is more than a mutant offspring of
documentary techniques. It deserves a place of its own as an
alternative kind of cinema - neither documentary (as usually practiced
) nor fiction (though often telling a story). Its relative newness
(primarily due to the recent development of the necessary
equipment) does not necessarily mean it is the wave of the future
that will drown all past efforts. Nevertheless, it must be reckoned
with as an extension of the present limits of cinema, an independent
form raising its own critical questions.
Cinema verite did not sprout full-grown in the early sixties. A
broad historical approach could locate traces of similar concerns
from the beginnings of cinema, and such an approach would
give the misleading impression that cinema verite is the culmination
of a sixty-year search for a new cinematic form . However,
the supposed influences generally depart from cinema verite in
crucial areas, and the links are often rather tenuous. Instead of
undertaking this sort of comparative survey in this chapter, we
shall explore the work of selected filmmakers and theoreticians
who anticipate key cinema-verite concerns . This will be done pri-
marily to discuss ideas still relevant to cinema-verite practices today
, not to provide a full examination of cinema-verite prehistory.
DzigaVertov 5
Dziga Vertov
The writings of Dziga Vertov, the Russian filmmaker and theoretician
, are replete with statements that reflect a deep awareness of
issues related to cinema verite. Vertov coined the term Kino-Prav-
da, which was applied to a series of 23 films he made between
1922 and 1925, each organized around a specific theme or
idea.2Georges Sadoul claims that his translation of Kino-Pravda
into Cinema Verite in his 1948 Histoire du Cinema is the first use
of the term.3The origin of the label, however, is not so important
as what it has come to mean. The Kino-Pravda of Vertov is not
the cinema verite of the sixties. It anticipates many key ideas of
modern cinema verite, but no more than that is claimed here.
In the strongest possible terms, Vertov denounced all forms of
6. theatrical, fictional cinema, calling for an end to the dependence
of cinema upon literature, drama, and music, in other words, the
characteristics of nearly all films made to that point4 (and, I might
add, most since then). He wrote of his cinema as being a branch
of science5 and of each film as an experiment.6 He set for himself
and his fellow filmmakers this task: "To combine science with
cinematic depiction in the struggle to reveal truth . . . to decipher
reality."?With characteristic boldness, Vertov spoke of the goal
of "observing and recording life as it is (italics in original)."8
Vertov insisted upon exploring the real world and the actual objects
in it. He wrote, "If a fake apple and a real apple are filmed
so that one cannot be distinguished from the other on the
screen, this is not ability, but incompetence - inability to photograph
. The real apple has to be filmed in such a way that no
counterfeit can be possible. . . ."9 He was also opposed to the
use of actors, except when they are presented as real people in
a film that attempts to study the relationship between their feelings
and the roles they must play.1OAn idea quite common in
cinema verite was expressed in 1929 by a Russian writer describing
Vertov's method: "The director ordinarily invents the plot
for the scenario- Dziga Vertov detects it. He does not, with the
aid of authors, actors, and scenery-carpenters, build an illusion
of life; he thrusts the lens of his camera straight into the crowded
centers of life (italics in original)."11
These sentiments are commendable but now seem somewhat
platitudinous. Vertov's most important contribution was his realization
of the crucial role of editing. He wrote that each "Kino-
Eye" film (a name he applied to a broad part of his work12) "is in
the act of being edited from the moment the subject is chosen
until the finished film comes out, that is to say, it is being edited
during the whole film-making process."13In a fitting metaphor,
Vertov saw the bits of film as bricks. With these bricks, he said,
one could build a chimney, the wall of a fort, or many other
things. And just as good bricks are needed to build a house, in
order to make good films one needs good bits of filmed mate-
Cinema Verite: Definitions and Background 6
7. DzigaVertov
rial.14He also recognized that there was no one truth, that editing
could serve to support any truths (or lies) that one wished.15
Vertov even went so far as to note three key "periods" in the
filmmaking process and the different activities during each: the
selection of the subject and the period after it is chosen when a
shooting plan is developed, the period of shooting itself (which he
realized was a selective period), and the "central editing" period
when the film is assembled.16Although he saw each of these
periods in a very different light from the cinema-verite goals discussed
earlier, the recognition of these steps as closely related
parts of a continuous process was, and is, very important .
Vertov was not opposed to scripts or some kind of scenario,
reluctantly feeling that they were necessary in order that there be
"a continuity and correspondence of scenes to result in an irresistible
movement forward ."17He does, though , speak of making
the script as brief and condensed as possible. Interestingly, he
said that the cameramen themselves should try to set up preliminary
schemes, but since not every cameraman may be
sufficiently knowledgeable about his subject, they should be
assisted by "specialists," that is, scenario writers, who would work
"arm in arm with the cameramen ."18With admirable tentativeness
, he admitted that his thoughts on this matter were not very
clear, and he invited further dialogue. In an empirical spirit that
is very much a part of cinema verite, he asked only that his idea
of the small scenario be tried, as "practice is the criterion of
truth."19
Almost as important as Vertov's idea of editing was his recognition
of the importance of sound and, even more crucial, the need
for synchronous sound.2OAlong with his "Kino-Eye" theory he
developed the "Radio-Ear,'! and he considered the two inseparable
.21This was another outstanding observation on his part, for
cinema verite as we speak of it has come about only since the
need for synch sound was again realized and the technical battle
was won. Vertov's recognition of the technical goals went even
further , for he spoke of the need for a camera that could go
7
8. 8Cinema Verite: Definitions and Background
anywhere under all conditions . He wanted the "Kino-Eye" to be
as mobile as the human eye.22As happened with sound, we will
see how filmmakers forty years later came to discover the same
need.
Vertov also suggests yet another important cinema-verite concept
- that it tries to capture life as it happens and is not a reenactment
of past events. He brings this up in the context of a
discussion of the "Kino-Eye" as a means to study the lives of
individual people, an idea at the very heart of the films we will be
Taiking about:
I do not write on paper, but on film. . . . Many writers took their
heroes from real life. For instance, Anna Karenina was based on
the life of one of Pushkin's daughters. I thought about recording
on film the history of Marya Oemchenko from the life of Marya
Oemchenko. The difference was that I could not write on film
events that had already occurred . I can only write simultaneously
as the events are occurring . I cannot write about the meeting of
the Komsomol after it has taken place. And I cannot, like some
correspondents , write an article on events, on spectacles, on
carnivals several days after they have taken place. I do not demand
that the cameraman be at the scene of a fire two hours
before it breaks out. But I cannot permit that he go to film a fire
a week after the fire has gone out. . . .
Now I am working on films about the Woman. . . . They will be
about a schoolgirl , about a girl at home, about a mother and a
child . . . [and so on through ten or more examples].
I will also write about specific people, living and working . . . . I
will film the development of man from diapers to old age. . . . The
endless process of taking creative notes on film. The endless
process of observation with camera in hand.23
The final entries on the bulging credit side of Vertov's ledger
relate closely to a key cinema-verite issue- camera awareness.
In speaking of the filming of Vertov's The Man With a Movie
Camera, Sadoul says: "They chose people who were sufficiently
absorbed in some spectacle or violent emotion so that they would
forget the presence of a camera."24Sadoul also speaks of their
.filming at a party filled with drinking and jazz, where those being
filmed became more used to the presence of the cameras as the
9. Robert Flaherty 9
evening wore on (as a result of both their increased ease in front
of the equipment and the effects of the dancing and alcohol)
until they were behaving in the same manner as if they were not
being filmed. Sadoul compares this to Richard leacock 's ideas
on needing the confidence of the subject for this kind of filming.25
In this section, I have selected only those aspects of Vertovian
thought that correspond to present cinema-verite ideas. A detailed
account of the substantial differences between Vertov and
cinema verite will not be rendered, but it should be emphasized
that an equally lengthy outline of these aspects is possible.
Vertov's interest in hidden camera and telephoto and infrared
lenses, his use of slow and fast motion, his extensive preplanning
of filming according to a particular theme, and especially his
emphasis on strong editing control in many ways correspond
more closely to other forms of documentary than to cinema
verite. Still, he was phenomenally prescient in this area, even if
the direct path of influence goes off in a different direction .
Robert Flaherty
Robert Flaherty, like Vertov, is not strictly a precursor of cinema
verite, but again he prefigures important central elements. Also,
the links between Flaherty (who was American by birth, though
he traveled extensively) and American cinema verite are more
clearly established, primarily through Richard leacock 's association
with Flaherty during the making of Louisiana Story.
The term that has come to be associated with Flaherty's method
is "non-preconception ," through its use by Mrs. Flaherty in lectures
and writings about her husband.26To quote her: "Non-preconception
, a method of discovery as a process of film-making,
was Robert Flaherty's contribution to the motion picture. From
that method everything there is in hisfilms flows,"27The difference
between what the word itself suggests and what Mrs. Flaherty
means by it is somewhat misleading, Nonpreconception , I would
think, should imply an idea no more complicated than the absence
of preformed opinions, blases, or attitudes concerning the
10. subject to be filmed. As such, it is a method very much in keeping
with cinema verite. But Mrs. Flaherty uses the term in another
way, to differentiate between the purpose her husband had in
making documentaries and the goals of the English documentary
school and also Hollywood films. Films like John Grierson's, she
says, "have been preconceived for political purposes, for propaganda
," while, to her, Hollywood "preconceives" its films "for the
box office."28Robert Flaherty's films, however, "do not argue. . . .
What they celebrate, freely and spontaneously, simply and purely,
is the thing itself for its own sake."29Nonpreconception , then, is
used as a term to describe goals rather than methods.
The problem of terminology aside, Mrs. Flaherty does have a
point. Flaherty's films are different from Grierson's and Holly-
wood's. And, as I hope will become clear, cinema verite has
strong affinities with Flaherty's way of making films.
The major Flaherty contribution , in terms of cinema verite, begins
with his interest in studying real people in their actual surroundings
. Beginning with his 1922 Nanook of the North, he
made films that explored cultures through the activities of a small
number of people. In effect, Flaherty found stories about individuals
that served as means to structure his films in a way that
would show what he felt to be important about the people (in a
cultural sense) he was observing. (Said Flaherty on this point: "A
story must come out of the life of a people, not from the actions
of individuals.")30And, quite significantly, the films only took
shape in the arduous process of shooting and editing, out of observation
of life as it presents itself and not as the result of a prepared
script. (". . . You cannot superimpose studio-fabricated
plots on an actual setting without finding that the reality of the
background will show up the artificiality of the story.")31
The Flaherty method of filmmaking was as intuitive as it was
complex . A fascinating analogy between Flaherty's work and certain
Eskimo attitudes reveals a concept very much akin to cinema
verite. Basically (although the passage this is quoted from should
Cinema Verite: Definitions and Background 10
11. be read in full), the idea is that the form of an object is an expression
of its purpose. The carver of ivory, for example, seeks to
bring out that which is already hidden within the unworked piece.
Through a "ritual of discovery," turning it in his hand this way and
that, carving aimlessly if the result is not immediately apparent,
he finds, say, a seal within the ivory. "Then he brings it out; seal,
hidden, emerges. It was always there: he didn't create it; he released
it; he helped it step forth." Or, a found piece of an antler
is examined, as always, only in terms of its intended use: "Form
and function , revealed together, are inseparable. Add a few dots
or tiny rings or just incisions, rhythmically arranged to bring
out the form , and it's finished."32According to Arthur Calder-
Marshall, "This attitude is implicit in all Flaherty's work , though
he never stated it more fully than 'First I was an explorer; then I
was an artist.'"33
In terms of his method, this "ritual of discovery" meant shooting
a tremendous amount of footage, often with no idea of how it
was to be used in the finished film. (In Louisiana Story, for example
, 200,000 feet of material was shot to make an 8,000-foot
film,34a 25 to 1 ratio.) Calder-Marshall notes elsewhere in his
book that the end of a Flaherty film usually came only when the
money ran out.35In reference to Nanook of the North, he says,
"Perhaps if he had been given an annuity by Revilion Freres
(sponsors of the film), he might have gone on shooting in Hud-
son Bay until he died, because the camera eye had become to
him more perceptible than his own."36If nonpreconception is to
be taken as a working method, this is its basis in Flaherty's work
- the notion that filming should flow from the filmmaker 's boundless
interest in his subject and that shooting should not be overly
selective.
This kind of shooting, of course, places a great burden on editing
. The idea that the camera eye is more perceptive than the human
eye is a bold concept and one that, if accepted, must call
into question the nature of the editing process itself. Richard
RobertFlaherty 11
12. It becomes a simple but important matter then (though neither
Calder-Marshall nor Griffith do it) to connect the faith in the
camera eye as a superior recording instrument and the influence
of Eskimo attitudes on Flaherty. The connection comes about because
of what, I believe, the actual advantage of the camera is
(which is not the advantage Calder-Marshall and Griffith see), the
opportunity for repeating the event as many times as necessary
to assist in the "ritual of discovery," It is because repeated projection
can yield new facets of reality that editing could be acreative
process for Flaherty. It is a step comparable to the Eskimo
carver's holding his work up to the light and twisting it about,
Without the possibilities for seeing the material in a different light
with each viewing, Flaherty would have had no urge to edit (although
it does seem that editing was of less interest to him than
filming).
The relation between shooting and editing is basic in cinema
verite. Flaherty wrote (close to the end of his life) that his first
thought in connection with the use of a movie camera on one of
his expeditions was as a means "to compile visual notes."38This
attitude of tentativeness toward the raw footage is not characteristic
of other kinds of filming but is certainly so of cinema verite.
Cinema Verite: Definitions and Background 12
Griffith places even stronger emphasis on this point than Calder-
Marshall, connecting this view of the camera eye and Flaherty's
shooting methods as follows:
He was the first film director to understand that the eye of the
camera does not behave like the human eye, which selects from
a field of vision only what interests its owner. The camera's eye
unselectively records everything before it. . . . Robert Flaherty
trust[ed] the camera before himself. He wanted what the cam-
era's eye could show that his own eye could not see. Because
of this, he shot everything, and only afterward, in the projection
room, did he really "make" his films, looking at all he photographed
again and again until the underlying pattern emerged
for him. His was first of all an art of observation and afterward of
selection.37
13. fied work , The Land would require an allegiance to one side or
the other. But Flaherty took no stand, and the film reflects the
complexity of the situation.
Observations by Richard Leacock, who was Flaherty's cameraman
on Louisiana Story (1948), his last film, point to the technical
impasse that had been reached. Most of Louisiana Story was
shot silent with two Arriflex cameras, a relativelylight piece of
equipment.41At the end, a sound crew with a Mitchell camera
(much heavier than the Arriflex) came in for the sequences
where synchronized dialogue was needed.42Over ten years later,
Leacock was to recall these difficulties:
13Robert Flaherty
Flaherty's way of editing, as described by Griffith, is precisely
analogous to cinema verite. The selection process seeks to determine
"the underlying pattern" (Griffith's term) in the material.
(This is not to be found in Vertov, who saw editing as the step
that wedded the original theme to the footage shot in service of
that theme.) That "pattern," if it evolves out of the material, might
not conform to traditional notions of film structure. In most films,
of course, whether documentary or fiction, the editing stage is
not the time when such basic structural decisions are made.
Flaherty's The Land comes closest of all his films to following a
cinema-verite approach . Flaherty traveled around the United
States beginning in 1939, shooting material relating to soil erosion
, the plight of migrant farmers, and new mechanized farming
techniques. The Land, to quote Calder-Marshall, "was not a film
in the sense that it had an argument or a constructed pattern.
It was a record of a personal journey. . . ."39Flaherty shot without
a script, and the film does not have a continuing "cast of
characters" to provide dramatic continuity (unlike his previous
work). WhileCalder-Marshallseesin thefilm "an epicthemehe
[Flaherty] could not resolve,"4othis lackof resolutionis indicative
of an unwillingnessto wrap problemsin a neatpackage. Flaherty
wastorn betweensympathyfor the migrantworkers' plightand
fascinationfor advancesin aqriculturaltechnology. To be a uni-
14. 14CinemaVerite: Definitionsand Background
Cesare Zavattini
Italian neorealism is often cited as a forerun ner of cinema verite,
but the relationship is marginal at best, and discussion of the
question would shed more light on neorealism than upon cinema
verite. Instead, we shall consider briefly a "position paper" by
Cesare Zavattini, neorealism's foremost proponent, which in spirit
is very close to our present concerns ,45
Zavattini calls for I'a direct approach to everyday reality . . . without
the intervention of fantasy or artifice,"46The force of Zavat-
. . . I saw that when we were using small cameras, we had tremendous
flexibility, we could do anything we wanted, and get a
wnnrlprfl JI spnse of cinema. The moment we had to shoot dia-- - - -
logue, lip-synch- everything had to be locked down, the whole
nature of the film changed. The whole thing seemed to stop. We
had heavv disk recorders, and the camera that, instead of weigh-
ing six pounds, weighed two hundred pounds, a sort of monster.
As a result of this, the whole nature of what we were doing
changed. We could no longer watch things as they developed,
we had to impose ourselves to such an extent upon everything
that happened before us, that everything sort of died.43
Leacock has said in several other interviews that this was the
time when it became clear to him that the next step in developing
these techniques of filming was a technical one, the need for having
portable equipment that could also record synch sound.44
(As I have already noted, Vertov anticipated this necessity some
time earlier.)
We can think of Flaherty as the man who best expressed the
faith in open observation that is at the heart of cinema verite. Like
Vertov, his methods extend beyond cinema verite's (and sometimes
contradict them, especially in the matter of restaging
events), but the consistent homage paid to Flaherty by the major
practitioners of this kind of cinema throughout the world is certainly
merited. Flaherty could say, "First I was an explorer; then I
was an artist," but rarely has film art dealt so reverentiallywith the
real world .
15. CesareZavattini 15
tini's argument is distinguished throughout by an emphasis on
the possibility of making films without the contrived drama of
most fiction films, basing them instead on the simplest of incidents
. Theoretically at least, Zavattini argues for a faith in real
time with more zeal than has been demonstrated by any cinema-
verite advocate: "No other medium of expression has the cin-
ema's original and innate capacity for showing things, that we believe
worth showing, as they happen by day- in what we call their
'dailyness,' their longest and truest duration."47Elsewhere, Zavat-
tini has also claimed that the supreme act of faith for a neorealist
would be to present, in the middle of a film, ninety consecutive
minutes in the life of a man.48(A more drastic application of the
same notion, suggested by Fernand Leger, is described by Kra-
cauer: "Leger dreamed of a monster film which would have to
record painstakingly the life of a man and a woman during twenty
-four consecutive hours: their work, their silence, their intimacy.
Nothing should be omitted; nor should they ever be aware of
the presence of the camera.")49
Zavattini is equally adamant on the matter of technical equipment
and the general way that films are made. This paragraph,
indeed, makes a good deal more sense in relation to cinema
verite than to neorealism:
The term neorealism - in a very Latin sense- implies, too, elimination
of technical-professional apparatus, screenwriter included.
Handbooks, formulas, grammars , have no more application.
There will be no more technical terms. Everybody has his personal
shooting script. Neorealism breaks all the rules, rejects all
those canons which, in fact, only exist to codify limitations. Reality
breaks all the rules, as can be discovered if you walk out with
a camera to meet it.50
His feelings about screenwriting are especially surprising, considering
that it has been his major capacity in filmmaking . He
goes so far as to say, "The screenwriter as such should disappear
, and we should arrive at the sole author of a film."51Like
Vertov in his writings and Flaherty in his practice, Zavattini also
16. 16CinemaVerite: Definitionsand Background
emphasizes the importance of the individual filmmaker : "Everything
becomes flexible when only one person is making a film,
everything possible. . . ."52And on one last point he further concurs
with these two earlier filmmakers : "The actor . . . has no
more right to exist than the story."53
Zavattini has to be cited as part of the aesthetic foundation of
cinema verite, regardless of the failure of neorealism to fulfull this
stated commitment to undirected reality. There has to be room
here for a man who can say: "However great a faith I might have
in imagination, in solitude, I have a greater one in reality, in people
. I am interested in the drama of things we happen to encounter
, not those we plan."54Here, he beautifully articulates a
cinema-verite outlook.
Georges Rouquier
Georges Rouquier's 1946 Farrebique is cited in A. William
Bluem's Documentary in American Televisionas an example of
cinema verite, and Bluem then uses it as a means to castigate
this kind of filmmaking for seeking, he says, to hide the fact that
events have been reconstructed for the film.55While Bluem is
mistaken, Farrebique is a step between Flaherty and cinema
verite, although it is closer to the former .
Rouquier lived on a French farm for one year to record the life
of one family during that time. (This is a goal analogous to
Flaherty's in Nanook of the North, which he said began with the
thought , "Why not take . . . a typical Eskimo family and make a
biography of their lives through a year?")56Like Flaherty,
Rouquier does not content himself with undirected reality, preferring
instead to reconstruct events for the camera, but the point
is, the film does not pretend to be otherwise. There is a moment
In Flaherty's film when Nanook smiles briefly at the camera;
Rouquier's film has many similar moments of unhidden complicity
. When Bluem says we can see "that these people are aware
that they are performing ,"57he errs in assuming that the rest
17. Jean Renoir and the Camera 17
of the audience doesn't see it too and that the filmmaker is
making a special effort to hide this situation.
Farrebique is a step toward cinema verite for the faith it shows
in its people. Its success on this score is reflected in a comment
like that of James Agee, when he says the film makes one "realize
with fuller contempt than ever before how consistently in our
time so-called simple people, fictional and non-fictional, are consciously
insulted and betrayed by artists and audiences. . . . this
is the finest and strongest record of actual people that I have
seen."58Agee also saw, and liked, Rouquier's interest in the simple
details of their life, what he calls "the small casual scraps of
existence."59The film's interest in routine chores, the milking of
cows, the slicing of bread, is indeed indicative of a concern for
nonplot elements that is still exemplary.
We are also indebted to Agee for taking issue with what would
become a common cinema-verite criticism ; he quotes Bosley
Crowther's remark that Farrebique is "lacking in strong dramatic
punch . . . not even a plain folk triangle."6OAgee correctly saw
that the absence of "punch" was very much to Rouquier's credit.
Jean Renoir and the Camera
Jean Renoir, in an interview with Andre Bazin that first appeared
in France Observateur and later, translated, in Sight and Sound,
indicates a new view of the role of the camera, partly inspired by
television, that has become typical of cinema-veriteattitudes .61
Leacock has said that he is certain this article influenced him,62
but whether this is so or not, Renoir does make a crucial distinction
that is at the heart of cinema verite- essentially, that the
camera should be looked upon as a recording device and no
more, subordinate to what is being filmed:
. . . In the cinema at present, the camera has become a sort
of god. You have a camera, fixed on its tripod or crane, which is
just like a heathen altar; about it are the high priests- the director ,
cameraman , assistants- who bring victims before the camera,
18. 18CinemaVerite: Definitionsand Background
like burnt offerings, and cast them into the flames. And the camera
is there, immobile - or almost so- and when it does move it
follows patterns ordained by the high priests, not by the victims.
Now, I am trying to extend myoid ideas, and to establish that
the camera finally has only one right- that of recording what
happens. That's all. I don't want the movements of the actors to
be determined by the camera, but the movements of the camera
to be determined by the actor. This means working rather like a
newsreel cameraman . . . . It is the cameraman's duty to make
it possible for us to see the spectacle, rather than the duty of the
spectacle to take place for the benefit of the camera.63
Renoir means this standard to apply to all forms of cinema,
but when considered in conjunction with comments he makes
later in the same interview about the power of reality as sometimes
seen on television, his observations become very much
to the point. In speaking of televised political hearings, presum-
ably the Army-McCarthy hearings, he says, IIIfound this tremendously
exciting . . . and somehow an indecent spectacle to watch
(ellipsis in original). Yet this indecency came nearer the knowledge
of man than many films."64The idea of the camera in service
of the subject is more suited to unstaged reality, for in fiction
the subject matter exists solely for the purpose of being filmed. In
cinema verite, the subject is of interest whether the filmmaker is
there to record it or not. In other kinds of films, the way the material
is shot and edited is usually a prime determining factor in
whether the finished work is of interest. Cinema verite adopts
Renoir's idea of the camera and uses it as a recording tool, so
that the events themselves, lithe knowledge of man," become the
standard we use to judge the film.
Siegfried Kracauer
Throughout this study so far, we have noted a continuing dissatisfaction
with the artifices of traditional storytelling techniques
as they have been employed in cinema. The objection has
generally been to the preparation of stories prior to filming instead
of allowing stories to grow out of the events themselves.
19. To recount this thread, here are several examples previously
noted:
1. "The director ordinarily invents the plot for the scenario- Dziga
Vertov detects it." (italics in original)
2. "A story must come out of the life of a people, not from the
actions of individuals." (Flaherty)
3. "I am interested in the drama of things we happen to encounter
, not those we plan." (Zavattini)
The relationship between planned and encountered drama is
the subject of extended consideration in Siegfried Kracauer's
Theory of Film: The Redemption of Physical Reality. Kracauer's
book is based upon his belief that "films come into their own
when they record and reveal physical reality. . . . this reality includes
many phenomena which could hardly be perceived were
it not for the motion picture camera's ability to catch them on the
wing."65His feeling that film "gravitates toward unstaged reality"
is strong enough for him to assert that "staging is aesthetically
legitimate to the extent that it evokes the illusion of actuality,"66
but he limits his argument almost exclusivelyto the domain of
prescripted fiction films. Nevertheless, many of his arguments
are applicable to cinema verite and reflect a faith in the real world
that is shared by these films. The appearance of Kracauer's book
in 1960, just prior to the wide-scale blossoming of this movement
, marks it as an important step in the aesthetic battle on
behalf of reality in cinema that in many ways justifies the goals of
cinema verite. Kracauer has been properly rebuked for his intolerance
toward many kinds of films, but, without assuming that
he speaks for the whole of cinema, there is still a good deal of
merit in his argument.
Kracauer does touch briefly on the nonfiction film, and it is pri-
marily in connection with the notion now under discussion, the
relationship between realistic and formative tendencies. He quite
correctly locates the heart of the conflict: "On the one hand, the
documentary maker eliminates the intrigue so as to be able to
SiegfriedKracauer 19
20. 20Cinema Verite: Definitions and Background
open his lens on the world; on the other, he feels urged to reintroduce
dramatic action in the very same interest."67As Kracauer
observes, the faith in reality without plot has never been very
strong: "In fact, the body of existing documentaries testifies to a
persistent tendency towards dramatization."68To this seemingly
insoluble dilemma, Kracauer proposes a solution. Assuming that
stories will creep in one way or another, he suggests that some
are more suitable than others.
It is here that we are back to the quotations listed at the beginning
of this section, for Kracauer, too, is a proponent of "discovered
" drama. His tE?rm is the "found story," which , he says,
"covers all stories found in the material of actual physical
reality."69His description of this finding process sounds like
Flaherty's Eskimo influence: "When you have watched for long
enough the surface of a river or a lake you will detect certain
patterns in the water which may have been produced by a breeze
or some eddy. Found stories are in the nature of such patterns."
And, further , on a point of such importance that a good deal
more substantiation would have been desirable, Kracauer considers
found stories to be entirely unlike their fictional counterparts
: "Since the found story is part and parcel of the raw material
in which it lies dormant , it cannot possibly develop into a
self-contained whole- which means that it is almost the opposite
of the theatrical story." Also, the found story "tends to render
incidents typical of the world around us."
Kracauer is very much taken with Flaherty's storytelling
methods, especially his avoidance of strict linear narrative. While
Kracauer believes Flaherty took it for granted that a story is desirable
in documentary (a point with which he agrees), Flaherty
depended upon a succession of typical incidents for structure
rather than upon a story growing "from the actions of individuals
." That is, Flaherty avoided situations too closely tied to
unique personalities in order to lessen the strictures of forced
interpretation through dramatic form . We should feel, for instance
, that Nanook is one Eskimo of many, that because his
21. The attempt in this chapter has been to shed some light on the
intent behind cinema-verite filmmaking through discussion of
some ideas that anticipated it. Influences from fields other than
filmmaking , however, have scarcely been considered . A comprehensive
analysis of the development of cinema verite would include
, among other topics, influences of written journalism ,
photography , photojournalism , and television, as well as a clearer
SiegfriedKracauer 21
"story" is freed from tight plot through the universality of his
constant struggle for survival, it has a significance beyond his
actual circumstance . According to Kracauer, Flaherty's lessened
reliance on plot was due to his being "afraid lest fully developed,
rounded-out stories, which often have pronounced patterns of
meaning, [ would] prevent the camera from having its say."70
Kracauer's wariness toward fully fleshed-out drama is difficult
to reconcile with his refusal to abandon narrative entirely.
His preference for the "found story" and the "slight narrative"
(the latter a description of Flaherty's storytelling methods taken
from Rotha)71still indicates a firm commitment to dramatic structure
in documentary film. While Kracauer emphasizes that stories
should be elicited from "the raw material of life rather than subjecting
the raw material to preestablished demands,"72this distinction
is rather vague. "Raw material," as we shall see, may itself
be highly dramatic, so the very selection of subject matter
may be a marked element of preconceived structure . In practice,
we have little way of knowing whether a story does indeed come
out of the material or whether it is forcibly extracted.
While Kracauer's arguments concerning the found story and
the slight narrative may provide some justification for the persistent
dependence upon story in cinema verite, his most valuable
contribution for our purposes is his delineation of the problem
rather than his overly conservative conclusion . That a possible
conflict exists between uncontrolled events and the varieties of
meanings permitted by imposed structures is a complex, crucial
issue in cinema verite.
22. Cinema Verite: Definitions and Background 22
picture of the traditional forms of documentary (including types
popular on television). Such an analysis is not within the scope of
this volume. It is hoped, however, that even such a brief background
as the one given in this chapter will refute the suggestion,
too prevalent in studies of this nature, that the methods of filmmaking
under discussion popped up spontaneously and without
precedent in the 1960s.