Cinema Verite Direct Cinema

Cinema Vérité & Direct Cinema 1960-1970 Historical context Cinéma verité: French film movement of the 1960s that showed people in everyday situations with authentic dialogue and naturalness of action. Rather than following the usual technique of shooting sound and pictures together, the filmmaker first tapes actual conversations, interviews and opinions. After selecting the best material, he films the visual material to fit the sound, often using a hand-held camera. The film is then put together in the cutting room. Encyclopedia Britannica Direct Cinema: The invention of relatively inexpensive, portable, but thoroughly professional 16 mm equipment – and the synchronous sound recorder – facilitated the development of a similar movement in the US at just about the same time. Sometimes called cinema verite, sometimes simply ‘direct cinema’, its goal was essentially the capturing of the reality of a person, a moment, or an event without any rearrangement for the camera. Leading American practitioners were Ricky Leacock (Primary, 1960), Frederick Wiseman (Titicut Follies, 1967), Donn Pennebaker (Monterey Pop, 1968) and the Maysles brothers (Salesman, 1969) Encyclopedia Britannica Technological changes Until 1960s synchronous recording of sight & sound on location – difficult to impossible Standard documentary sound-film method - shooting silent - subsequent addition of sound – words, music, sound effects - voice-over commentary (almost) obligatory adds information & interpretation e.g. Grierson, Lorentz This style characterizes documentaries in 1930s & 1940s: Song of Ceylon, The River, Night Mail, Why We Fight series Visual/sound changes Italian Neorealism - adds audible reality to its images (Rossellini) Jean Renoir – striving for realism British ‘free’ documentaries of the 1950s Morris Engel – independent features 1950s – flexible equipment John Cassavetes - Shadows (1959) uses 16 mm portable equipment Lionel Rogosin – semi-documetary narratives New technology 16 mm shoulder-mounted camera light-weight & noiseless did not acoustic insulation (blimp) brand names: Éclair, Arriflex Has ‘reflex’ viewing – looking through the lens while shooting Zoom lenses - no need to change lenses to alter the field of view Fast film stock - needing little light b&w color superior quality of Eastman Kodak 16 mm intensification process at laboratory – pushing film sensitivity Sound - magnetic tape recorders - synchronized with cameras w/cable brand name: Niagra later – crystal synchronization – no longer need for cable light-weight – 20 pounds First films Now action can be recorded taking place in front of the camera & microphone without altering or interrupting it First successful films in Canada, US & France 1958-1961 Les Raquetteurs (The Snowshoers) Michel Brault & Giles Groulx Canadian Film Board – Office National du Film 1958 Primary 1960 Drew & Associates shown on ABC Chronicle of a Summer 1961 Jean Rouch & Edgar Morin Direct Cinema vs. Cinéma Verité American approach – Direct Cinema Pioneered by Drew & Associates in the Close-Up! ABC series Articulated by Robert Drew & Richard Leacock Came from reportage tradition – Drew, photo-journalism Leacock, cinematographer Predicated on the possibility of the objective observer filmmakers do not participate in, or influence, the scene they are ‘flies on the wall’ Method functioned best if something important happened to subjects – e.g. Primary Jane 1962 The Chair 1962 The situation had its own drama (beginning, middle & end) w/ climax - ‘crisis structure’ Other key films Crisis: Behind a Presidential Commitment 1961 Football 1961 Showman 1962 Monterey Pop 1968 Salesman 1968 Cinéma Verité Term first applied by Jean Rouch translation of Vertov’s Kino Pravda - Film Truth Rouch wanted to combine Vertov’s theory & Flaherty’s method KEY CONCEPTS Filmmakers cannot achieve objectivity The camera is obtrusive & acts as catalyst The truth is ‘unmasked’ through a process of deliberately encouraged self-revelation Effects on documentary subjects & styles The new technology pulled filmmakers back to Flaherty by permitting continuous takes without pausing for lens changes or refocusing camera loaded w/ 400 ft of 16 mm – ten minutes Impact of synch sound shots are less freely manipulated – visual & sound, bound filmmaker also bound to real time & space Technique encourages coming in close concentrating on individuals Uncontrolled effect of unscripted action The predominance of the cinéma verité/direct cinema style has brought losses & gains It is more ‘bound’ to reality than reconstructions of events staged for the camera in pre-1960s documentaries Less effective or efficient for some subjects & purposes Not as good for propaganda or poetry – requiring control or as a means of personal expression The pull toward the individual & continuous recording is a pull toward narrative - a la Flaherty unlike the expository, poetic or argumentative forms of pre-1960s documentaries Attractive technique for television pulls to individual - zoom & directional microphone intimate realistic dramas game shows talk shows Favors personality & gossip Cinéma Verité/Direct Cinema has blurred the distinction between documentary & fiction Many verite documentaries use techniques of the fiction film to build their story - Eddie 1961 Many fiction films use cinéma verité techniques to give the impression that we see life as it is being lived The Jackal of Nahuel Toro 1969 Tout Va Bien 1972 The Blair Witch Project 1999 Catfish 2010 Aesthetic & Ethical Considerations Aesthetic challenges: How to express a personal p.o.v. through uncontrolled actuality How to offer an aesthetic experience Ethical challenges: What happens when the camera records criminal activity Gimme Shelter 1971 or intrudes in the private sphere of individuals/families A Married Couple 1969 An American Family 1973 Key Films & Fimmakers 1960-1970 Jean Rouch Chronicle of a Summer 1960 France Michel Brault Les Raquetteurs (The Shnowshoers) 1958 Canada Robert Drew & Associates Primary 1960 The Chair 1962 Crisis: Behind a Presidential Commitment 1962 Richard Leacock Happy Mother’s Day 1963 A Stravinsky Portrait ‘66 D.A. Pennebaker Don’t Look Back 1966 Monterrey Pop 1968 Albert & David Maysles Salesman 1968 What’s Happening? 1964 Frederick Wiseman Titicut Follies 1967 High School 1968