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Create a 9 pages page paper that discusses direct cinema and cinma vrit. Specifically, the opposition between the observational and the participatory/reflexive modes of the documentary will be discuss

Create a 9 pages page paper that discusses direct cinema and cinma vrit. Specifically, the opposition between the observational and the participatory/reflexive modes of the documentary will be discussed. Cinéma vérité emerged and was developed in France whereas direct cinema developed in the USA and Canada. Both genres emerged in the 1960s (Bruzzi, 2000). The two types of films intended to be alternatives to fiction films and traditional documentary forms (Bruzzi, 2000). This paper defines and discusses the concepts, differences and similarities of both types of films, focusing on areas of disagreement and discrepancy. In addition, the variance in the outlook and methods between the forms will be explored. In relation to the Cinéma vérité and direct cinema, Chronique d’un Été&nbsp.(1961) and High School (1968) will be discussed.

Generally, cinematic verite and direct cinema are approaches to cinema that use lightweight filming equipment, mainly the hand-held cameras. The two cinematic practices also use live and synchronous sounds. The cinematic practices extensively used the emerging technologies of the 1960s in Europe, the USA and Canada (Bruzzi, 2000). Through these technologies, filmmakers of the 1960s had great avenues for eliminating huge film crews, big mounted equipment and large studio sets. There was also a decreased need for special light in the film making process.

Although the effect of technology on the filming industry should however not be the basis for the definition of direct cinema and Cinéma vérité, the film making philosophies of the period cannot be ignored (Bruzzi, 2000). In fact, the film making philosophy is a major difference between cinéma vérité and direct cinema. Apart from recording techniques, the two cinematic practices adopt two different philosophical stands, regarding the manner in which the world is being viewed (Bruzzi, 2000).

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