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Essay about The Face Behind the Truth in Cinema

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Since the beginning of Documentary Filmmaking, films have shown the eternal search for truth. Exposing reality as it is to the world through Film became a goal to Documentary Filmmakers. For a period of time Filmmakers lost their path along the way and became promoters who manipulated the audience around the world into believing what they wanted. During the 1960’s two special movements began to emerge in different parts of the world. Direct Cinema in North America and Cinema Vérité in Fance. These two movements brought back the notion of revealing the true through their Films. The new movements encourage Filmmakers to take the position of observers. Direct Cinema and Cinema Vérité are often confused and classify as one movement. This is…show more content…
Vertov’s goal was to reveal truth by observing and recording everyday life. This shows that Dziga Vertov, Cinema Vérité and Direct Cinema all share the same objective. Another similarity would be that as well as Direct Cinema and Cinema Vérité practitioners, Vertov opposed to the use of actors. One of the reasons that makes easy to mistake to Cinema Vérité and Direct Cinema with each other is their goal to uncover the truth with objectivity, since both movements were influenced by a visionary methods ans techniques from Vertov and Flaherty.
Vertov anticipated the necessity for synchronize sound and the necessity of a camera that could go anywhere. After a long quest, thanks to the Drew unit and their tests, Filmmakers were finally able to achieve synchronized sound. Along with this achievement came Direct Cinema and Cinema Vérité. Lighter camera and synchronized sound equipment made it possible to go out to the world and follow the any subject anywhere wih out pre-planning, this was convinient to directly capture reality. At the very basics, Direct Cinema and Cinema Vérité can be defined as cinematic movements that use hand-held cameras thanks to the lightweight equipment, and synchronous sound, giving them a similar visual aesthetic. But at a deeper level both Cinema Vérité and Direct Cinema required their practitioners to get involve and become
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