Direct Cinema

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

that 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

Perhaps the most well-known innovators of the direct cinema genre of documentary film are the Maysles brothers, Albert and David Maysles. Together they created what became one of the most revolutionary contributions to direct cinema, Grey Gardens. This documentary film features the daily lives of a mother and her middle aged daughter, both named Edith Beale, who live in squalor despite their numerous recounts of their luxurious past. Through this film, the Maysles brothers went against the aesthetic

In this essay I am discussing Jenny Livingston’s 1991 film, Paris is Burning, in terms of genre, representation, gender, ideology, hegemony and intertextuality. Paris is Burning is a documentary film following the lives of those involved in Drag-Ball culture, a subculture among some black and Latino occupants of Harlem. The documentary provides its audience with an invitation to these balls, allowing us to attend and indeed judge ourselves, the regimented competitions which involve the transformation

Documentary is a genre that has the ability to provide visual evidence of reality by means of filmic treatment of actuality. Intrinsically linked to the notion of ‘truth’, it relies on the mechanical capability of the camera to capture an image of likeness. In a dynamic and flexible genre, the possibilities are endless and as such, are constantly being redefined. Advances in technological factors have driven the genre’s complexity, expanding boundaries and allowing filmmakers the opportunity to create

Comparing Documentaries: 9/11 and September Mourning The ways in which the codes and conventions are used the documentaries are that many of them have an interviewer this is sometimes either an invisible interviewer or the interviewer is present and is can be picked out by the audience. Also the camera work differs. The two documentaries I will be concentrating on will be '9/11' by the 'Naudet brothers' (9/11, Naudet Brothers, 2002, Fr/US) '9/11'was released by 21st

mother in his past lead to some maturity and parts of his analytical trait, but primarily, determination and immaturity direct Christopher’s autism when solving the mystery of ‘who killed Wellington’. During the transition from Swindon to Mother’s house in London, Christopher’s analytical trait is starting to be seen, and

In the early times of narrative cinema there was litter pressure on the filmmakers for the evolution of film forms before nickelodeons (Salt, 31) as cinema had not become a mass cultural product and film was still just a novelty expected to die out like rock n roll. And so the demand was low and so the supply could remain unoriginal. Mary Jane's Mishap was made in 1903 when ‘multi-scene films were becoming popular’ (Salt, 32). Mary Jane's Mishap is notable for its use of experimental and inventive

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

as the very first Indian woman to ever single-handedly direct a movie is engraved in stone, and will always be. The year was 1926, at a time when world cinema was still experimenting with the science and technology of motion pictures. Indian cinema had already taken long strides by then, but produced only acting roles for women. Yet, breaking the mould, Fatma Begum established her own production company - Fatma Films - and went on to direct Bulbule Paristan! Perhaps without even realising the effect