Lecture 6 – February 29
From Kyno Pravda to Cinema Verite to Direct Cinema
SEE THIS WEEKS POWERPOINT BELOW and read the other notes and references below.
jmsc-0044-documentaries-week-6-feb-29-08-for-web.ppt
The unnarrated, observational form of documentary film making has been called many things in its history since the 1920′s. Whatever the name, the object of film makers was to use their cameras to approach something as ”true” as possible in the observation of the human condition.
We explore the art form in this sessions largely as it developed from Europe and influenced film makers in China.
We start by reprising Dziga Vertov and moving quickly to Paris and Jean Rouch.
(note: Watch “Defining the Moment” from 33:15 and 37:00)
“Absolute truth?”
“what is verite’ – truth? Truth is something unattainable. You can’t claim to write truth with a camera. What you can do is reveal something to your viewers that makes them discover their own truth.” Michel Brault (French canadian film maker)
We look next at
Jean Rouch,
As Peter Wintonick puts it “Jean Rouch used the camera as a catalyst…. employing interviews, improvisations, even psycho drama… He probes the personal and political lives of his subjects who reveal their hidden truths.”
Among the issues “Direct Cinema” documentary film makers debate is how much to involve themselves in the pursuit of truth on film. Does the film maker intervene, prompt, coax, interview, engage, stage situations, encourage etc. Or does the film maker simply run the camera; observe situations and build a structure later in the editing room. There are purests versus more liberal thinkers in this ongoing debate.
An organization called “Documentary Educational Resources”
offers this further analysis of Jean Rouch. Note also the tribute site to him below.
“Jean Rouch (1917-2004) French filmmaker and anthropologist. Credited with creating the term CINEMA VERITE’ His most famous film is “Chronique d’un ete’ “ Chronicle of a Summer Paris http://www.frif.com/new2003/sum.html
the technique Jean Rouch used was not however purely observational and not what others would later describe as true Truth cinema or Direct Cinema for Jean Rouch would stage situations. His practice, placing people in situations and provoking responses, differs from what later came to be called vérité films. Rouch tribute website = http://www.der.org/jean-rouch/content/index.php
Documentary Educational Resources = is an organization that produces, distribute and promote quality ethnographic and documentary films from around the world. Founded in 1968 .
Albert Maysles,
The Maysles brothers were among the more influential film makers in New York in the 1950′s – 1990′s. Many of their films revolve around compelling and quirky characters. They use their cameras to allow their characters to tell their own stories and reveal their personalities usually over a fairling long period of shooting. The 1967 black and white film “Salesman” is a classic. It follows the exploits of a group of cranky BIBLE salesmen in America.
see http://www.cinematicreflections.com/Salesman.html
A later film “Grey Gardens” tells the remarkable if bizarre story of two sad and eccentric women – mother and daughter – big and little Edie Beale. Once wealthy, they have now fallen on hard times living in a run down 23 room mansion on Long Island New York.
see http://www.mayslesfilms.com/
Frederick Wiseman,
Wiseman is an influential and prolific Boston based documentary maker. He has made more that 30 films largely on institutional subjects: schools, hospitals, mental health facilities, courts, a packing plant, a race course. Most of his films are on black and white film, some have been aired on Public Service Broadcasting, and most of his films remain difficult to access as Wiseman and his film company retain all rights and sell rights for screening at higher prices than most films on DVD. Many of Wiseman’s films are remarkably long – up to four hours. It takes the patient devotee of documentary film much effort to screen many of Wiseman’s work.
Among Wiseman’s best known films: “Titicut Follies” (1967) and “High School” (1968) Follies was the film that made Wiseman famous as it portrayed in graphic detail conditions that existed at the State Prison for the Criminally Insane at Bridgewater, Massachusetts. His film about a High School remarkably captured the tensions between students and teachers at a period of change in American education.
& those they inspired
Films: in excerpt teaching tool: Cinema Verite: Defining the Moment (2001)
Chronicle of Summer “Chronique d’un ete’ “ (1968) Rouch
(CV=46:41 )
Salesman (1967) Maysles
(CV = 7313-7737)
Grey Gardens (1975) Mayles
High School (1968) Wiseman
(CV=7737-8105)
Near Death ( ) Wiseman
Secondary School (2003) Cheung
Tammy Cheung is a Hong Kong film director who openly admits her fascination for Wiseman. Her films are clearly derivative.
See: http://www.firecracker-media.com/interviews/documenting-hk-tammy-cheu.shtml
Senior Year 高三 (2004) Zhou Hao
http://www.chicagodocfestival.org/07_senior%20year.htm note: Zhou’s film was shown at the Chicago International Documentary Film festival in 2007.
Please Vote for Me (2006) Chen Wenjun China - the story of an election in a school for student leader or warden. The documentary is available on line.
Others that may be considered depending on time.
Gimme Shelter (1970) Maysle Brothers [about an early "Rolling Stones" rock group concert]
Harlan County USA (1976) Kopple [about a coal mine strike in Kentucky]
note: Barbara Kopple a disciple of the Maysle Brothers (CV=8128-8439) She went on to direct popular TV dramas in the 1990′s like “Homicide”
Readings: Barnouw, pages 240 – 262
Stubbs, Chapter 2, Father of Direct Cinema (recommended)
on line:
http://archive.salon.com/ent/col/srag/2000/08/10/gimme_shelter/ http://www.pbs.org/pov/pov2001/highschool/index.html
