Cinéma vérité

The Cinema Verite Robert Drew and Associates Robert drew was one of the pioneers of cinema verite. Drew had an idea for a new way to tell a story. He invested on new technology that allowed him to fulfill his vision. Giving birth to a new style of cinema that later came to be know as cinema verite. Drew had a unique philosophy that transcribed to his films from how he shot it to the cuts in the editing room. Robert Drew’s philosophy consisted of keeping a story engaging through the naturalism of

According to Williams (11, 12), cinema vérité demands that the filmmaker take an active role in the documentary. This does not include commenting on the progress of the documentary or creating voice overs but rather being an active participant of the event as it unfolds (Das 62). However,

Direct Cinema The term 'direct cinema' was coined by American director Albert Maysles, to describe the style of documentary that he and his contemporaries were making in the 1960s as a result of a lightweight, portable 16mm camera and high quality lightweight audio recorders becoming available. The introduction of these, together with film-stock which was sensitive enough to give a good quality close-up monochrome picture under most lighting conditions (Including

started in the 1960's. Cinéma vérité was founded in France, while at the same time, direct cinema was founded in the United States. Both have the same intention of “being there” and placing the viewer in the location among the subjects. They each use at least one of the Griersonian's themes, such as male narrator voice-over, re-enactment shots, and scripts. However, there are a few differences in these movements with their choice and style in their approach. Cinéma vérité is very self-reflexive

The Bicycle Thieves is an Italian Neorealist black and white movie directed by Vittorio De Sica. The movie is about an unemployed father named Antonio Ricci, who is finding a way to recover the family’s lost bicycle. The bicycle was a very important thing that was owned by the Ricci family, but it was stolen by a young man while Antonio was working. The movie was filmed in an outskirt of Rome. However, this film is different from other films, because it is neither romantic nor sentimental, but it

In the art world of the 1970’s, Mary Kelly responded directly to the issues raised in Mulvey’s article often making works that attempt to reclaim feminine identity. Most of Kelly’s films are works of research and documentation that concern ideas of women’s roles and women’s work. In the early 1970s Kelly was involved in the making of the film Night Cleaners (1970-1975). The film explored contemporary issues of feminist activism in following a group of working-class female service labourers and

psychology which is the organizing principle of the film. And, it is precisely how we as viewers identify with this character and become complicit in his pathological perspective which this essay will continue to explore. In conventional Hollywood cinema, narrative is subservient to the viewer 's overall pleasure and ease of understanding, as it provides an overarching framework which may elucidate the motivations and consequences of a character 's actions. However, Korine expresses his dismay with

I. Introduction Beginning in the late 1960’s, a new film movement known as New Hollywood began, rapidly replacing the Classical method of filmmaking. This era was unique because many popular films of the time were produced outside of the studio system, shot on-location, and with non-professional actors and actresses. These “art films” were brash, irreverent, and full of anger. While directors during this time used drastically different methods to achieve their final product, the meaning they

New Age Bollywood: Society’s call or IQ’s fall The actress flexes her belly muscles for the 367th time on screen. She seems to be quite content with the blatant stereotyping and the pigeon-holing. The fact that she is only there as a commodity doesn’t seem to bother her. The actor falls in love at first sight – with her or her belly dancing, we’re not really sure. The same actor proceeds to bash the skulls of 453 similar minded men lusting after the aforementioned belly to prove his love for the

film production in the world. However, the first films India watched were not made in Bollywood. The various stages of evolution of bollywood can be categorized as follows: Silent Era to Talkies (1930-1940): Dadasaheb Phalke, the father of Indian Cinema was a man with vision and courage. In the silent era, he pioneered the revolution and released his path breaking film, Raja Harishchandra, based on a mythological character on 21st April, 1913 in Olympia theatre. It was India’s first full-length feature