The Face Behind the Truth in Cinema

1279 WordsJul 13, 20186 Pages
Oscar Wild once said, “The truth is rarely pure and never simple” and he is right. But no matter what the outcome is, or how complex the truth is, we will always strive for the truth. The concept of truth is no stranger to film documentaries, and one filmmaker that certainty was aware of that was Dziga Vertov. During the 1920’s Vertov created a newsreel series to promote the concept of ‘Kinopravda” which translated to English mean “Film truth.” Unfortunately, Vertov was ahead of his time, and this concept disappeared along the filmmakers’ path. It wasn’t until the 1960’s that other filmmakers around the world once again recognized the importance of the truth. Two movements with the purpose of revealing the truth of life, emerge in…show more content…
As great, informative and entertaining this film was, how can it represent the truth when is being manipulated? This film is representing a distortion of reality. The filmmakers already knew what to ask, when to film, the shot that they wanted, and what reaction to expect form the subject; all this doesn’t look so honest. On the other hand, Direct Cinema filmmakers would observe impartially. To them the camera should be a “fly on the wall” (observational without being participatory) as described by Barnouw. They would never use interviews, voice-overs or any other kind of outside narration that would tell the audience what to think. They would not plan the shots, they had no way of knowing what was going to happen next, and they keep intervention to a minimum. In the film “Salesman,” Albert and David Maysles followed their subjects in a spontaneous way. I have to admit there is one instance in the film where Paul is talking in the car talking there was no response from the filmmaker so it was basically as if Paul was talking to him self, during that moment he was giving the audience an inside to his inner thoughts, he was giving us the truth that we were looking for. Direct Cinema filmmakers believed that once the subjects of their films got used to the camera being around them, they wouldn’t be bother anymore and will act spontaneously. But Cinéma Vérité filmmakers argue that this concept is an illusion of reality. That gaining objectivity by

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