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Cinéma vérité

From Wikipedia, the free encyclopedia

Cinéma vérité (UK: /ˌsɪnɪməˈvɛrɪt/, US: /-ˌvɛrɪˈt/, French: [sinema veʁite]; "truthful cinema") is a style of documentary filmmaking developed by Edgar Morin and Jean Rouch, inspired by Dziga Vertov's theory about Kino-Pravda. It combines improvisation with use of the camera to unveil truth or highlight subjects hidden behind reality.[1][2][3] It is sometimes called observational cinema,[4][5] if understood as pure direct cinema: mainly without a narrator's voice-over. There are subtle, yet important, differences between terms expressing similar concepts. Direct Cinema is largely concerned with the recording of events in which the subject and audience become unaware of the camera's presence: operating within what Bill Nichols,[6] an American historian and theoretician of documentary film, calls the "observational mode", a fly on the wall. Many therefore see a paradox in drawing attention away from the presence of the camera and simultaneously interfering in the reality it registers when attempting to discover a cinematic truth.


Cinéma vérité can involve stylized set-ups and interaction between the filmmaker and the subject, even to the point of provocation. Some argue that the obvious presence of the filmmaker and camera was seen by most cinéma vérité filmmakers as the best way to reveal the truth.[7][8][9] The camera is always acknowledged, for it performs the act of filming real objects, people, and events in a confrontational way. The filmmaker's intention was to represent the truth as objectively as possible, freeing the viewer from deceptions in how those aspects of life were formerly presented to them. From this perspective, the filmmaker should be the catalyst of a situation. Few agree on the meanings of these terms, even the filmmakers whose films are being described.

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

In all cases, the ethical and aesthetic analysis of documentary form (see docufiction) of the 1950s and 1960s has to be linked with a critical look at post-war propaganda analysis. This type of cinema is concerned with notions of truth and reality in film. Feminist documentary films of the 1970s often used cinéma-vérité techniques. This sort of "realism" was criticized for its deceptive pseudo-natural construction of reality.[10][11]

Edgar Morin coined the term around the time of such essential films as 1960's Primary[12] and his own 1961 collaboration with Jean Rouch, Chronicle of a Summer.[13]

Filmmakers associated with the style


Selected cinéma-vérité films


Many film directors of the 1960s and later adopted use of handheld camera and other cinéma vérité aspects for their scripted, fiction films—having actors improvise to get a more spontaneous quality in their dialogue and action. Influential examples include director John Cassavetes, who broke ground with his film Faces.[50] The techniques of cinéma vérité can also be seen in fiction films from The Blair Witch Project[14] to Saving Private Ryan.[51]

Cinéma vérité was also adapted for use in scripted TV programs, such as Homicide: Life on the Street, NYPD Blue,[14] both the UK and American versions of The Office, Parks & Recreation[52] and Modern Family.[14] Documentary series are less common, but COPS is one famous non-fictional example.[14]

It has also been a subject ripe for parodies and spoofs such as the mockumentary film This Is Spinal Tap[53] and Emmy-nominated TV series Documentary Now (the latter paying homage to the style of such CV classics as Grey Gardens and The War Room).[54][55]

See also


  1. ^ Glossary of rouchinan terms at MAITRES FOUS net
  2. ^ Ricky Leacock and “The Sense of Being There” Archived 2013-06-14 at the Wayback Machine – Article by Stephen Altobello at IMN
  3. ^ Camera that Changed the World, BBC Four.
  4. ^ Direct Cinema Archived 2019-04-06 at the Wayback Machine at Karamumedia12 Archived April 6, 2019, at the Wayback Machine.
  5. ^ Observational documentary at Film Reference
  6. ^ Nichols, Bill. Introducing the Documentary. Indiana University Press, 2001, p. 109
  7. ^ Barbara Bruni, "Jean Rouch: Cinéma-vérité, Chronicle of a Summer and The Human Pyramid", Senses of Cinema, issue 19, March 2002.
  8. ^ DIRECT CINEMA: Filmmaking Style and its relationship to “Truth” – Thesis by Bernice K. Shneider, B.A., Art History University of Massachusetts, MIT (1972)
  9. ^ Jean Rouch – The Film-maker as Provocateur Archived August 24, 2014, at the Wayback Machine – Article at Microwave.
  10. ^ A feminist critique of documentary film – Paper at Serendip Studio Archived 2012-11-05 at the Wayback Machine
  11. ^ By, For, and About: The “Real” Problem in the Feminist Film Movement Archived January 25, 2020, at the Wayback Machine – Paper by Shilyh Warren at Mediascape, UCLA
  12. ^ a b Richard Brody, "The Godfather of Cinéma Vérité", The New Yorker, July 31, 2014.
  13. ^ Chronicle of a Summer (1961), The Criterion Collection.
  14. ^ a b c d e f g h i j k l m n o p q r s t u "Cinema Verite: The Movement of Truth", Independent Lens,
  15. ^ Cassavetes, Major Director In U.S. Cinema Verite, Dies at 59 - The New York Times
  16. ^ New Working-class Studies - Google Books (pg.160)
  17. ^ The 25 Best Movies About The Cold War – Page 2 – Taste of Cinema
  18. ^ Realism as a Style in Cinema Veritie: A Critical Analysis of Primary on JSTOR
  19. ^ Chronicle of a Summer (1961)|The Criterion Collection
  20. ^ Happy Mother's Day at Pennebaker Hegedus Films
  21. ^ Terri C Smith (January 15, 2007). "D.A. Pennebaker's Don't Look Back: Direct Cinema's Early Portrait of a Cultural Icon" (PDF).
  22. ^ Josh Schasny, "25 New Hollywood Era Films That Projected the Hopes and Fears of the Times", Taste of Cinema, March 4, 2016.
  23. ^ 10 Essential Cinema Verite Films Every Documentary Fan Should See - Page 2 -Taste of Cinema
  24. ^ Wanda (1970)|The Criterion Collection
  25. ^ Charlie Fox on John Waters's Multiple Maniacs - Artforum International
  26. ^ The Plaint of Steve Kreines as recorded by his younger brother Jeff at Sundance Festival
  27. ^ MISS SPHEERIS'S PUNK VERITE - The New York Times
  28. ^ The Rolling Stone Illustrated History of Rock & Roll: The Definitive History of the Most Important Artists and Their Music - Google Books (pg.113)
  29. ^ The Atomic Cafe|Screen Slate
  31. ^ The Atomic Cafe Review|Movie - Empire
  32. ^ THE ATOMIC CAFE|Jayne Loader Interview
  33. ^ A New Pot of Gold: Hollywood Under the Electronic Rainbow, 1980 1989 - Google Books (pg. 380)
  34. ^ Two Stark Visions of the American Underbelly Hit the Big Screen|Current|The Criterion Collection
  35. ^ Sherman's March – New Georgia Encyclopedia
  36. ^ Paris Is Burning - Cinema Axis
  38. ^ When We Were Kings: Hale County This Morning and Hoop Dreams|Watershed
  39. ^ Slam: The Book - Publishers Weekly
  40. ^ Tarnation (2004): Jonathan Caouette's Reality as Painfully and Weirdly Entertaining Confessional Family Saga | Emanuel Levy
  41. ^ Enter Narci-Cinema - The New York Times
  42. ^ Take Out (2004)|The Criterion Collection
  43. ^ Daddy Longlegs (2009)|The Criterion Collection
  44. ^ How the Filmmakers Behind Sundance Hit 'Tangerine' Shot on an iPhone & Got Cinematic Results - No Film School
  45. ^ "The Florida Project" finds magic for those living in the shadow of Disney – Tone Madison
  46. ^ The 25 Best Movies of the Decade (2010s) - World of Reel
  47. ^ Dick Johnson Is Dead (2020)|The Criterion Collection
  48. ^ Why a Documentary About a Cow Reveals the Limits of an Art Form|The New Yorker
  49. ^ Inside the 21-Year Spiritual Journey of Capturing Kayne West's Life and Career|The Film Stage
  50. ^ John Cassavetes in Allmovie, accessed online on the New York Times, October 23, 2006.
  51. ^ Best Film Editing Sequences -
  52. ^ Brad Becker Parton, "How 'Parks and Rec' Transcended its Mockumentary Roots", Vulture, February 26, 2015.
  53. ^ Greatest Film Scenes and Moments -
  54. ^ "'Documentary Now!' a spoof on docs by 'SNL' alums Seth Meyers, Bill Hader and Fred Armisen", Daily News, August 14, 2015.
  55. ^ Hubert Adjei-Kontoh, "Documentary Now! An ode to the funniest spoof on television", The Guardian, February 20, 1019.

External links

This page was last edited on 18 January 2023, at 20:33
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