1289:"Today, we see the influence of vérité in everything from music videos to feature films to TV news. Yet these things are not vérité films. The key difference, I think, is that today's contemporary image industry is almost wholly devoid of thoughtful content; it is pure image (even, or maybe especially, the news) without the sense of social self and social responsibility that vérité filmmakers brought to their work. "I am proud that filmmakers in Quebec and the rest of Canada and institutions like the National Film Board of Canada were able to give voice and vision to the vérité movement. Perhaps the next wave of documentarians and their audiences can re-visit some of the lessons learned from cinéma vérité, and adapt them to the challenges of the future." Filmmaker
64:. It is a cinematic practice employing lightweight portable filming equipment, hand-held cameras and live, synchronous sound that became available because of new, ground-breaking technologies developed in the early 1960s. These innovations made it possible for independent filmmakers to do away with a truckload of optical sound-recording, large crews, studio sets, tripod-mounted equipment and special lights, expensive necessities that severely hog-tied these low-budget documentarians. Like the
1199:"The Hollywood film is an escape of one sort or another. But our films make it damn near impossible to escape. We're interested in what you can't escape from and presenting it... Some people get a little edgy when they see something that is so personal. They don't know where to turn to look for the kind of buffer that most movies give them. In fiction you can say 'it's only a movie' and forget it. You can't do that with reality." —Albert Maysles to
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988:. "But in order to go and film people, to really go with them, amidst them, they must know you are there. They must accept the consequence of the presence of the camera and that means using a wide angle. The only legitimate process is one that relies on a tacit contract between the one who films and the one who is filmed, where there is a mutual recognition of the other."
406:), helped define direct cinema style and made it known to a wide public with the help of Time-Life Broadcast. The film reveals how primary elections worked in the U.S. at the time and raised the profile of direct cinema. After these hotly debated experiments, Time Life Broadcast withdrew from its agreement with Drew Associates. Drew Associates would continue on its own.
1270:"It must be said, all that we have done in France in the area of cinéma vérité comes from Canada. It is Brault who brought a new technique of filming that we had not known and that we copied ever since. In fact, truly, there is a "brauchitis" spreading, it is certain. Even the people who consider that Brault is a nuisance, or were jealous, are forced to recognize it."
76:"Direct cinema is the result of two predominant and related factors—The desire for a new cinematic realism and the development of the equipment necessary to achieving that desire" (Monaco 2003, p. 206). Many technological, ideological and social aspects contribute to the direct cinema movement and its place in the history of cinema.
856:"The type of cinema that poses the most profound and difficult problems concerning illusion, irreality and fiction, is indeed the cinema of the real, its very task being to face the most difficult problem asked by philosophy for two thousand years, that of the nature of reality." (In the 1980 festival catalog of
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Direct cinema, on the other hand, has been seen as more strictly observational. It relies on an agreement among the filmmaker, subjects and audience to act as if the presence of the camera does not substantially alter the recorded event. Such claims of non-intervention have been criticized by critics
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Cinéma vérité has many resemblances to direct cinema. The hand-held style of camera work is the same. There is a similar feeling of real life unfolding before the viewer's eyes. There is also a mutual concern with social and ethical questions. Both cinéma vérité and direct cinema rely on the power of
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Regardless of these practices, one thing is certain: direct cinema had more to do with the ethical considerations in documentary film making than with the technology. This could explain why the movement began in two North
American societies that were in social and ideological mutation, French Canada
122:
Before the 1960s and the advent of direct cinema, the concepts of propaganda, film education and documentary were loosely defined in the public. Cinema in its ontological objectivity was seen by many viewers as reality captured and a means of universal education, as had been photography in its early
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The consequences of these three movements deeply modified Quebec society and resulted in a myriad of perspectives by intellectuals and artists in their colonized society. Filmmakers would simultaneously try to share their social conscience, improve the living conditions of the Québécois and attempt
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Direct cinema seemed to reflect this new attitude. It emerged from a desire to compare common opinion with reality. It attempted to show how things really are, outside the studio, far from the editorial control of the establishment—be it governmental or big press. What was noteworthy was that the
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work, it meant the ability to go amidst the people with a wide angle. Other filmmakers would develop different methods. Some insisted that their subject needed to get used to them before they started any real shooting, so it would seem the camera was being ignored Still another group of direct
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In other cases the documentary subject was brought into a studio. Sound taken directly from the studio made the documentary nature of the recording arguable. For example, a production might reconstruct a stable in the studio, with a sound engineer close by in a soundproof booth. This mimics the
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At that time, a university education was a rare thing for a Québécois. The people of Quebec were seen by its young emerging intelligentsia as alienated and abused. This period of complex cultural and economical change for French-speaking
Quebecers can be summarized by the convergence of three
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to describe their work and, in fact, found the term pretentious. They preferred "Cinéma Direct". Cinema vérité, the phrase and the form, can thus be seen as France's spin on the idea of the Cinéma Direct of Brault and his colleagues of the French section of the NFB in Canada.
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cinema filmmakers would claim that the most honest technique was for a filmmaker to accept the camera as a catalyst and acknowledge that it provoked reactions. This allowed filmmakers to feel free to ask their film subject to do something they would like to document.
486:). My goal was to capture real life without intruding. Between us there was a contradiction. It made no sense. They had a cameraman, a sound man, and about six more—a total of eight men creeping through the scenes. It was a little like the
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desire to test common opinion and show reality was constantly kept in check with an acute awareness that it is easy to lie with sound and image. This tension was at the center of direct cinema and resulted in its formal style and methodology.
1252:"Clearly, if we accept that cinema involves the production of signs, the idea of non-intervention is pure mystification. The sign is always a product. What the camera in fact grasps is the 'natural' world of dominant ideology." — Johnston
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to give shape, structure and meaning to the material recorded. Some film historians have characterized the direct cinema movement as a North
American version of the cinéma vérité movement. The latter was exemplified in France with
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to oppose integration. His defiance of court order rapidly became a national issue in the U.S. Drew
Associates had a cameraman in the Oval office and recorded the meetings over the crisis. The result played on TV in October 1963.
202:
With improved sound, lighting and camera equipment available, the technical conditions necessary for the advent of direct cinema were present. The social and ideological conditions that led to direct cinema also appeared.
88:
and more intimacy in the filmmaking. It also produced movements that are the style's visual trademark. The first cameras of this type were German cameras, designed for ethnographic cinematography. The company
150:
In the best case scenario, documentary sound was recorded before, in interviews, or much later on location, with a portable studio located in a sound-proofed truck. The sounds that were captured were later
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to bring national independence—provoking, documenting this transformation, and at the same time keeping a record of disappearing traditions in a rapidly changing society. The landmark film
155:(synchronized) in sound editing, thus providing the film with sound. In other cases, the soundtrack was recorded, as in fiction films: with layers of ambient sound, archival sound effects,
68:
genre, direct cinema was initially characterized by filmmakers' desire to capture reality directly, to represent it truthfully, and to question the relationship between reality and cinema.
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production of some studio films and TV series, but often results in surreal situations, such as cows being in a studio for a documentary on farming, rather than in their natural habitat.
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and a few other films. Then I went to France with
Leacock for a conference . I was surprised to see the Cinema vérité filmmakers accosting people on the street with a microphone (
432:, it also triggered a profound questioning over the political power of direct cinema. Politicians became more cautious about allowing access by documentary filmmakers.
370:. They started experimenting with technology, syncing camera and sound with the parts of a watch. In 1960, this group produced three films for Time-Life Broadcast:
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The desire to capture reality led to some questioning the ability of filmmakers to properly film someone whom they could not fully understand. As an example,
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in films shot on "documentary sets." Direct cinema gained its importance in the perspective of the popular evolution of ideas about reality and the media.
97:. Easily available, portable cameras played an important part, but the existence of these cameras in itself did not trigger the birth of direct cinema.
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143:, sound recording machinery was either extremely heavy or unreliable. Many attempts were made to solve this problem during the 1950s and 1960s. At the
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Cinéma vérité came to be a term applied in
English to everything from a school of thought, to a film style, and a look adopted by commercials.
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period. Documentaries from the 1950s provide insight into the level of understanding that viewers of that day had of manipulation and
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was considered the first to widely commercialize such cameras, that were improved for aerial and battlefield photography during
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and by the extraordinary post-war wealth (1945–1975) in Quebec (and Canada) meant the end of a more traditional rural life.
115:, which can be traced back to the 1920s, gave an articulated voice to this notion, where one can also see the influence of
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magazine after the war, decided to apply the photojournalist method to movies. He founded Drew
Associates, which included
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and its tense relations with the U.S. It documented the underlying anti-American sentiment in the population.
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456:(1961). For these historians cinéma vérité is characterized by the use of the camera to provoke and reveal.
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The awareness of cinema's potential to lie would result in filmmakers' trying precise ways of shooting. For
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Direct cinema techniques were also incorporated into a number of key fiction films of the period, such as
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for reference on 'Nègres blancs d'Amérique' (White
Niggers of America) (1968) by Pierre Vallières. Also
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Direct cinema was made possible, in part, by the advent of light, portable cameras, which allowed the
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A nationalist and social movement fighting ethnic discrimination against
Canadians of French origins.
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Roman
Catholic Church was a very powerful institution in Quebec society up until the '60s.
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147:(NFB), for example, a system called "Sprocketape" was designed, but was not implemented.
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The Documentary Idea: A Critical History of English-Language Documentary Film and Video
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claimed cinéma vérité came from Brault and the NFB. Yet the NFB pioneers of the form
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The idea of cinema as an objective space has been present since its birth. The
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explained how he saw the differences between cinéma vérité and direct cinema:
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The important industrialization and socio-economic change brought both by the
245:(Quebec) and the United States, before spreading to South America and France.
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490:. My idea was to have one or two people, unobtrusive, capturing the moment.
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Direct Cinema: Observational Documentary and the Politics of the Sixties
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went so far as to hand the camera to the "subject" (and co-author) of
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Re-Shaping Documentary Expectations: New Journalism and Direct Cinema
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183:
136:
1334:, "Women's Cinema as Counter-Cinema" (1975) in: Sue Thornham (ed.),
1156:. Canadian Independent Film & Television Publishing Association.
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90:
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Sharon Zuber, "Robert Drew, Telephone Interview, June 4, 2003" in
1229:"Cinema Verite or Direct Cinema? | DOCUMENTARY FILM FOR ALL"
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1355:. Unpublished Dissertation. College of William and Mary, 2004.
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For the film distribution company Direct Cinema Limited, see
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210:
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Representing Reality. Issues and Concepts in Documentary
176:, a landmark film in direct cinema history, in style of
898:"Looking at Movies, 2e | W. W. Norton and Company"
775:, (1973) (an example of a fictional direct cinema work)
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in Quebec accompanying its institutional Anglicization.
501:, Pierre Perrault and the others, never used the term
1348:, Bloomington : Indiana University Press, 1991
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760:
270:, a period of intense social and political change.
435:
1338:, Edinburgh University Press 1999, pp. 31–40
833:Encyclopedia of the Documentary Film 3-Volume Set
197:
1360:
1173:The cinema of Québec: Masters in their own house
166:Synchronized sound was used by French filmmaker
44:genre that originated between 1958 and 1962 in
182:, using a 16 mm camera connected through
860:, Centre Pompidou, Paris) Original text of
139:sync-sound (invented in 1954) and the 1961
1093:discourse to explain their situation. See
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536:Crisis: Behind a Presidential Commitment
425:Crisis: Behind a Presidential Commitment
311:, is a key example, as is Groulx's 1961
1146:Loiselle, Andre (June–September 2004).
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513:Examples of direct cinema documentaries
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111:(literally "Cinema Truth") practice of
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952:: CS1 maint: archived copy as title (
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211:The elusive recipe of reality captured
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428:not only fueled discussions over the
1177:Fairleigh Dickinson University Press
1169:"Québec film as a mirror of society"
1040:One Hundred Years of Canadian Cinema
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258:Direct cinema began in 1958 at the
24:
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1296:Cinéma Vérité: Defining the Moment
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25:
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1321:, London, Wallflower Press, 2007.
1213:"Wallace in the Schoolhouse Door"
1119:Guide to the cinema(s) of Canada
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60:—and was developed in France by
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1043:. University of Toronto Press.
558:The Mills of the Gods: Viet Nam
436:Direct cinema and cinéma vérité
27:Style of documentary filmmaking
1336:Feminist Film Theory. A Reader
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198:Ideological and social aspects
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1328:. N.J.: Prentice Hfall, 1989.
1117:. In Peter Harry Rist (ed.).
1113:Goyette, Louis (2001-07-30).
1102:Front de libération du Québec
1037:Melnyk, George (2004-01-01).
817:
468:In a 2003 interview (Zuber),
260:National Film Board of Canada
221:National Film Board of Canada
145:National Film Board of Canada
1167:Pallister, Janis L. (1995).
417:blocked the entrance of the
333:La vie heureuse de LĂ©opold Z
7:
1261:See also, Ellis, Chapter 14
928:(in German). Archived from
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830:Aitken, Ian (2013-10-18).
159:, and post-synced voices.
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1097:The Canadian Encyclopedia
1085:Intellectuals were using
1067:The Canadian Encyclopedia
364:Terence Macartney-Filgate
253:
1233:filmeditor.wordpress.com
998:Albert and David Maysles
722:and Dietmar Ratsch, 2010
692:Albert and David Maysles
666:Albert and David Maysles
650:Albert and David Maysles
573:Albert and David Maysles
368:Albert and David Maysles
266:, at the dawning of the
1369:Documentary film styles
761:"Direct cinema" fiction
303:(1958), co-directed by
223:, who pioneered modern
749:Smoke Sauna Sisterhood
727:Sofia's Last Ambulance
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409:On June 11, 1963, the
344:In the United States,
131:Sound before the 1960s
101:Objective truthfulness
1217:National Public Radio
1148:"Le Chat dans le sac"
483:Chronicle of a Summer
474:
453:Chronicle of a Summer
430:Civil Rights Movement
419:University of Alabama
173:Chronicle of a Summer
170:in 1960 when he shot
1179:. pp. 231–233.
464:Filmmakers' opinions
348:, a journalist with
186:with a prototype of
48:—principally in the
1235:. 28 September 2007
730:– Ilian Metev, 2012
376:Eddie (On the Pole)
328:Le Chat dans le sac
80:Lightweight cameras
1379:New Wave in cinema
1302:2007-09-09 at the
1201:The New York Times
1125:. pp. 82–83.
1073:2007-08-29 at the
1003:2006-10-22 at the
984:2007-09-28 at the
715:Neukölln Unlimited
569:Meet Marlon Brando
404:Hubert H. Humphrey
323:The Cat in the Bag
135:Before the use of
1293:, about his film
1277:Cahiers du Cinéma
1203:, 18 October 1987
1091:decolonialisation
742:Ljubomir Stefanov
606:Frederick Wiseman
249:Regional variants
50:Canadian province
16:(Redirected from
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875:(in French)
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794:Film portal
591:Festival! -
551:Robert Drew
541:Robert Drew
529:docufiction
476:I had made
470:Robert Drew
390:focused on
388:Yanqui, No!
372:Yanqui, No!
346:Robert Drew
274:phenomena:
108:Kino-Pravda
56:and in the
42:documentary
1363:Categories
1272:Jean Rouch
1239:2018-07-19
939:2007-06-20
908:2009-10-23
818:References
754:Anna Hints
495:Jean Rouch
448:Jean Rouch
233:Jean Rouch
168:Jean Rouch
62:Jean Rouch
1022:Moon Trap
734:Honeyland
563:Beryl Fox
547:The Chair
413:Governor
290:baby boom
188:Nagra III
184:pilottone
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1280:No. 144.
1153:Take One
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869:Archived
780:See also
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527:, 1956 (
336:(1965).
117:futurism
91:Arriflex
768:No Lies
478:Primary
443:editing
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587:, 1967
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543:, 1963
499:Brault
378:, and
366:, and
264:Quebec
254:Quebec
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1087:Fanon
1015:Like
933:(PDF)
926:(PDF)
676:Tread
157:foley
40:is a
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838:ISBN
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