Cinéma vérité - Revision history

Espngeek: Extending

2024-10-10T19:51:50Z

Extending

← Previous revision		Revision as of 19:51, 10 October 2024
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	*''[[American Honey (film)\|American Honey]]'' (2016)<ref>[https://variety.com/2016/film/columns/american-honey-shia-labeouf-1201898316/ What 'American Honey' Says About the Kids: No, They're Not All Right - Variety]</ref>		*''[[American Honey (film)\|American Honey]]'' (2016)<ref>[https://variety.com/2016/film/columns/american-honey-shia-labeouf-1201898316/ What 'American Honey' Says About the Kids: No, They're Not All Right - Variety]</ref>
	*''[[The Florida Project]]'' (2017)<ref>[https://tonemadison.com/articles/the-florida-project-finds-magic-for-those-living-in-the-shadow-of-disney/ "The Florida Project" finds magic for those living in the shadow of Disney – Tone Madison]</ref>		*''[[The Florida Project]]'' (2017)<ref>[https://tonemadison.com/articles/the-florida-project-finds-magic-for-those-living-in-the-shadow-of-disney/ "The Florida Project" finds magic for those living in the shadow of Disney – Tone Madison]</ref>
	''[[Gasoline Rainbow]]'' (2024)<ref>[https://www.indiewire.com/features/interviews/gasoline-rainbow-ross-brothers-interview-1234898408/ Don’t Call the Ross Brothers’ New Movie a Documentary: ‘We’re Desperate Not to Have This F*king Conversation Again’\|IndieWire]</ref>		''[[Gasoline Rainbow]]'' (2024)<ref>[https://www.indiewire.com/features/interviews/gasoline-rainbow-ross-brothers-interview-1234898408/ Don’t Call the Ross Brothers’ New Movie a Documentary: ‘We’re Desperate Not to Have This F*king Conversation Again’\|IndieWire]</ref><ref>[https://www.theguardian.com/film/article/2024/may/28/gasoline-rainbow-review-a-free-ranging-coming-of-age-ode-to-the-curiosity-of-youth Gasoline Rainbow review – a free-ranging coming-of-age ode to the curiosity of youth\|Movies\|The Guardian]</ref>

	==Legacy==		==Legacy==

Espngeek: Extending

2024-10-10T19:48:09Z

Extending

← Previous revision		Revision as of 19:48, 10 October 2024
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	*''[[American Honey (film)\|American Honey]]'' (2016)<ref>[https://variety.com/2016/film/columns/american-honey-shia-labeouf-1201898316/ What 'American Honey' Says About the Kids: No, They're Not All Right - Variety]</ref>		*''[[American Honey (film)\|American Honey]]'' (2016)<ref>[https://variety.com/2016/film/columns/american-honey-shia-labeouf-1201898316/ What 'American Honey' Says About the Kids: No, They're Not All Right - Variety]</ref>
	*''[[The Florida Project]]'' (2017)<ref>[https://tonemadison.com/articles/the-florida-project-finds-magic-for-those-living-in-the-shadow-of-disney/ "The Florida Project" finds magic for those living in the shadow of Disney – Tone Madison]</ref>		*''[[The Florida Project]]'' (2017)<ref>[https://tonemadison.com/articles/the-florida-project-finds-magic-for-those-living-in-the-shadow-of-disney/ "The Florida Project" finds magic for those living in the shadow of Disney – Tone Madison]</ref>
			''[[Gasoline Rainbow]]'' (2024)<ref>[https://www.indiewire.com/features/interviews/gasoline-rainbow-ross-brothers-interview-1234898408/ Don’t Call the Ross Brothers’ New Movie a Documentary: ‘We’re Desperate Not to Have This F*king Conversation Again’\|IndieWire]</ref>

	==Legacy==		==Legacy==

Espngeek: Correcting

2024-10-10T19:33:37Z

Correcting

← Previous revision		Revision as of 19:33, 10 October 2024
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	*''[[Murderball (film)\|Murderball]]'' (2005)<ref name="taughtmevertie">[https://aframe.oscars.org/what-to-watch/post/matthew-heineman-5-documentaries-that-taught-me-verite-filmmaking Matthew Heineman: 5 Documentaries That Taught Me Vérité Filmmaking\|A.frame]</ref>		*''[[Murderball (film)\|Murderball]]'' (2005)<ref name="taughtmevertie">[https://aframe.oscars.org/what-to-watch/post/matthew-heineman-5-documentaries-that-taught-me-verite-filmmaking Matthew Heineman: 5 Documentaries That Taught Me Vérité Filmmaking\|A.frame]</ref>
	*''[[How to Survive a Plague]]'' (2012)<ref>[https://mubi.com/en/notebook/posts/archival-verite-david-france-talks-about-the-death-and-life-of-marsha-p-johnson Archival Vérité: David France Talks about "The Death and Life of Marsha P. Johnson" on Notebook\|MUBI]</ref>		*''[[How to Survive a Plague]]'' (2012)<ref>[https://mubi.com/en/notebook/posts/archival-verite-david-france-talks-about-the-death-and-life-of-marsha-p-johnson Archival Vérité: David France Talks about "The Death and Life of Marsha P. Johnson" on Notebook\|MUBI]</ref>
	*''[[Frame by Frame (film)\|Frame by Frame]]'' (2015).<ref name=":0">{{Cite web\|url=http://filmmakermagazine.com/96432-if-youre-not-trusting-yourself-you-cant-be-creative-mo-scarpelli-and-alexandria-bombach-on-she-does-podcast/#.VxWx0\|title="… If you're not trusting yourself, you can't be creative": Mo Scarpelli and Alexandria Bombach on ''She Does'' podcast\|last=Ginsburg\|first=Elaine Sheldon and Sarah\|website=Filmmaker Magazine\|date=19 November 2015\|access-date=2016-05-03}}</ref>		*''[[Frame by Frame (film)\|Frame by Frame]]'' (2015)<ref name=":0">{{Cite web\|url=http://filmmakermagazine.com/96432-if-youre-not-trusting-yourself-you-cant-be-creative-mo-scarpelli-and-alexandria-bombach-on-she-does-podcast/#.VxWx0\|title="… If you're not trusting yourself, you can't be creative": Mo Scarpelli and Alexandria Bombach on ''She Does'' podcast\|last=Ginsburg\|first=Elaine Sheldon and Sarah\|website=Filmmaker Magazine\|date=19 November 2015\|access-date=2016-05-03}}</ref>
	*''[[Dick Johnson Is Dead]]'' (2020)<ref>[https://www.criterion.com/films/32311-dick-johnson-is-dead Dick Johnson Is Dead (2020)\|The Criterion Collection]</ref>		*''[[Dick Johnson Is Dead]]'' (2020)<ref>[https://www.criterion.com/films/32311-dick-johnson-is-dead Dick Johnson Is Dead (2020)\|The Criterion Collection]</ref>
	*''[[Cow (2021 film)\|Cow]]'' (2021)<ref>[https://www.newyorker.com/culture/the-front-row/why-a-documentary-about-a-cow-reveals-the-limits-of-an-art-form Why a Documentary About a Cow Reveals the Limits of an Art Form\|The New Yorker]</ref>		*''[[Cow (2021 film)\|Cow]]'' (2021)<ref>[https://www.newyorker.com/culture/the-front-row/why-a-documentary-about-a-cow-reveals-the-limits-of-an-art-form Why a Documentary About a Cow Reveals the Limits of an Art Form\|The New Yorker]</ref>

Espngeek: Extending

2024-10-10T19:32:50Z

Extending

← Previous revision		Revision as of 19:32, 10 October 2024
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	*''[[Murderball (film)\|Murderball]]'' (2005)<ref name="taughtmevertie">[https://aframe.oscars.org/what-to-watch/post/matthew-heineman-5-documentaries-that-taught-me-verite-filmmaking Matthew Heineman: 5 Documentaries That Taught Me Vérité Filmmaking\|A.frame]</ref>		*''[[Murderball (film)\|Murderball]]'' (2005)<ref name="taughtmevertie">[https://aframe.oscars.org/what-to-watch/post/matthew-heineman-5-documentaries-that-taught-me-verite-filmmaking Matthew Heineman: 5 Documentaries That Taught Me Vérité Filmmaking\|A.frame]</ref>
	*''[[How to Survive a Plague]]'' (2012)<ref>[https://mubi.com/en/notebook/posts/archival-verite-david-france-talks-about-the-death-and-life-of-marsha-p-johnson Archival Vérité: David France Talks about "The Death and Life of Marsha P. Johnson" on Notebook\|MUBI]</ref>		*''[[How to Survive a Plague]]'' (2012)<ref>[https://mubi.com/en/notebook/posts/archival-verite-david-france-talks-about-the-death-and-life-of-marsha-p-johnson Archival Vérité: David France Talks about "The Death and Life of Marsha P. Johnson" on Notebook\|MUBI]</ref>
			*''[[Frame by Frame (film)\|Frame by Frame]]'' (2015).<ref name=":0">{{Cite web\|url=http://filmmakermagazine.com/96432-if-youre-not-trusting-yourself-you-cant-be-creative-mo-scarpelli-and-alexandria-bombach-on-she-does-podcast/#.VxWx0\|title="… If you're not trusting yourself, you can't be creative": Mo Scarpelli and Alexandria Bombach on ''She Does'' podcast\|last=Ginsburg\|first=Elaine Sheldon and Sarah\|website=Filmmaker Magazine\|date=19 November 2015\|access-date=2016-05-03}}</ref>
	*''[[Dick Johnson Is Dead]]'' (2020)<ref>[https://www.criterion.com/films/32311-dick-johnson-is-dead Dick Johnson Is Dead (2020)\|The Criterion Collection]</ref>		*''[[Dick Johnson Is Dead]]'' (2020)<ref>[https://www.criterion.com/films/32311-dick-johnson-is-dead Dick Johnson Is Dead (2020)\|The Criterion Collection]</ref>
	*''[[Cow (2021 film)\|Cow]]'' (2021)<ref>[https://www.newyorker.com/culture/the-front-row/why-a-documentary-about-a-cow-reveals-the-limits-of-an-art-form Why a Documentary About a Cow Reveals the Limits of an Art Form\|The New Yorker]</ref>		*''[[Cow (2021 film)\|Cow]]'' (2021)<ref>[https://www.newyorker.com/culture/the-front-row/why-a-documentary-about-a-cow-reveals-the-limits-of-an-art-form Why a Documentary About a Cow Reveals the Limits of an Art Form\|The New Yorker]</ref>

MikeAllen: removed blog

2024-10-05T23:31:35Z

removed blog

← Previous revision		Revision as of 23:31, 5 October 2024
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	*''[[Tangerine (film)\|Tangerine]]'' (2015)<ref>[https://nofilmschool.com/2015/07/tangerine-sundance-iphone-5s-sean-baker-radium-cheung-interview How the Filmmakers Behind Sundance Hit 'Tangerine' Shot on an iPhone & Got Cinematic Results - No Film School]</ref>		*''[[Tangerine (film)\|Tangerine]]'' (2015)<ref>[https://nofilmschool.com/2015/07/tangerine-sundance-iphone-5s-sean-baker-radium-cheung-interview How the Filmmakers Behind Sundance Hit 'Tangerine' Shot on an iPhone & Got Cinematic Results - No Film School]</ref>
	*''[[American Honey (film)\|American Honey]]'' (2016)<ref>[https://variety.com/2016/film/columns/american-honey-shia-labeouf-1201898316/ What 'American Honey' Says About the Kids: No, They're Not All Right - Variety]</ref>		*''[[American Honey (film)\|American Honey]]'' (2016)<ref>[https://variety.com/2016/film/columns/american-honey-shia-labeouf-1201898316/ What 'American Honey' Says About the Kids: No, They're Not All Right - Variety]</ref>
	*''[[The Florida Project]]'' (2017)<ref>[https://tonemadison.com/articles/the-florida-project-finds-magic-for-those-living-in-the-shadow-of-disney/ "The Florida Project" finds magic for those living in the shadow of Disney – Tone Madison~~]</ref><ref>[https://www.worldofreel.com/blog/2019/12/top-50 The 25 Best Movies of the Decade (2010s) - World of Reel~~]</ref>		*''[[The Florida Project]]'' (2017)<ref>[https://tonemadison.com/articles/the-florida-project-finds-magic-for-those-living-in-the-shadow-of-disney/ "The Florida Project" finds magic for those living in the shadow of Disney – Tone Madison]</ref>

	==Legacy==		==Legacy==

ThaesOfereode: Formatting

2024-09-16T18:32:50Z

Formatting

← Previous revision		Revision as of 18:32, 16 September 2024
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	{{other uses\|Cinéma vérité (disambiguation)}}		{{other uses\|Cinéma vérité (disambiguation)}}

	'''Cinéma vérité''' ({{IPAc-en\|UK\|ˌ\|s\|ɪ\|n\|ᵻ\|m\|ə\|_\|ˈ\|v\|ɛr\|ᵻ\|t\|eɪ}}, {{IPAc-en\|US\|-\|_\|ˌ\|v\|ɛr\|ᵻ\|ˈ\|t\|eɪ}}, {{IPA\|fr\|sinema veʁite\|lang}} {{Lit.\|}} truth cinema~~; "~~truthful cinema") is a style of [[documentary film]]making developed by [[Edgar Morin]] and [[Jean Rouch]], inspired by [[Dziga Vertov]]'s theory about ''[[Kino-Pravda]]''. It combines improvisation with use of the camera to unveil truth or highlight subjects hidden behind reality.<ref>{{Cite web \|title=Glossary of Rouchian Terms \|url=http://www.maitres-fous.net/glossary.html \|archive-url=https://web.archive.org/web/20190430033332/http://www.maitres-fous.net/glossary.html \|archive-date=30 April 2019 \|access-date=2024-03-02 \|website=www.maitres-fous.net}}</ref><ref>		'''Cinéma vérité''' ({{IPAc-en\|UK\|ˌ\|s\|ɪ\|n\|ᵻ\|m\|ə\|_\|ˈ\|v\|ɛr\|ᵻ\|t\|eɪ}}, {{IPAc-en\|US\|-\|_\|ˌ\|v\|ɛr\|ᵻ\|ˈ\|t\|eɪ}}, {{IPA\|fr\|sinema veʁite\|lang}} {{Lit\| truth cinema\|truthful cinema}}) is a style of [[documentary film]]making developed by [[Edgar Morin]] and [[Jean Rouch]], inspired by [[Dziga Vertov]]'s theory about ''[[Kino-Pravda]]''. It combines improvisation with use of the camera to unveil truth or highlight subjects hidden behind reality.<ref>{{Cite web \|title=Glossary of Rouchian Terms \|url=http://www.maitres-fous.net/glossary.html \|archive-url=https://web.archive.org/web/20190430033332/http://www.maitres-fous.net/glossary.html \|archive-date=30 April 2019 \|access-date=2024-03-02 \|website=www.maitres-fous.net}}</ref><ref>
	[http://www.imakenews.com/gothamsound/e_article002082700.cfm?x=0,b11,w Ricky Leacock and “The Sense of Being There”] {{webarchive\|url=https://web.archive.org/web/20130614232209/http://www.imakenews.com/gothamsound/e_article002082700.cfm?x=0%2Cb11%2Cw \|date=2013-06-14 }} – Article by Stephen Altobello at IMN</ref><ref>[http://www.bbc.co.uk/programmes/b012tnml ''Camera that Changed the World''], [[BBC Four]].</ref>		[http://www.imakenews.com/gothamsound/e_article002082700.cfm?x=0,b11,w Ricky Leacock and “The Sense of Being There”] {{webarchive\|url=https://web.archive.org/web/20130614232209/http://www.imakenews.com/gothamsound/e_article002082700.cfm?x=0%2Cb11%2Cw \|date=2013-06-14 }} – Article by Stephen Altobello at IMN</ref><ref>[http://www.bbc.co.uk/programmes/b012tnml ''Camera that Changed the World''], [[BBC Four]].</ref>
	It is sometimes called '''observational cinema''',<ref>[http://www.karamumedia12.wikispaces.com/file/view/Direct+Cinema.doc Direct Cinema] {{Webarchive\|url=https://web.archive.org/web/20190406153716/https://www.karamumedia12.wikispaces.com/file/view/Direct%2BCinema.doc \|date=2019-04-06 }} at [http://www.karamumedia12.wikispaces.com Karamumedia12] {{Webarchive\|url=https://web.archive.org/web/20190406153712/https://www.karamumedia12.wikispaces.com/ \|date=April 6, 2019 }}.</ref><ref>[http://www.filmreference.com/encyclopedia/Criticism-Ideology/Documentary-OBSERVATIONAL-DOCUMENTARY.html Observational documentary] at [http://www.filmreference.com Film Reference]</ref> if understood as pure [[direct cinema]]: mainly without a narrator's [[voice-over]]. There are subtle, yet important, differences between terms expressing similar concepts. Direct cinema is largely concerned with the recording of events in which the subject and audience become unaware of the camera's presence: operating within what [[Bill Nichols (film critic)\|Bill Nichols]],<ref>Nichols, Bill. ''Introducing the Documentary''. Indiana University Press, 2001, p. 109</ref> an American historian and theoretician of documentary film, calls the "observational mode", a [[fly on the wall]]. Many therefore see a paradox in drawing attention away from the presence of the camera and simultaneously interfering in the reality it registers when attempting to discover a cinematic truth.		It is sometimes called '''observational cinema''',<ref>[http://www.karamumedia12.wikispaces.com/file/view/Direct+Cinema.doc Direct Cinema] {{Webarchive\|url=https://web.archive.org/web/20190406153716/https://www.karamumedia12.wikispaces.com/file/view/Direct%2BCinema.doc \|date=2019-04-06 }} at [http://www.karamumedia12.wikispaces.com Karamumedia12] {{Webarchive\|url=https://web.archive.org/web/20190406153712/https://www.karamumedia12.wikispaces.com/ \|date=April 6, 2019 }}.</ref><ref>[http://www.filmreference.com/encyclopedia/Criticism-Ideology/Documentary-OBSERVATIONAL-DOCUMENTARY.html Observational documentary] at [http://www.filmreference.com Film Reference]</ref> if understood as pure [[direct cinema]]: mainly without a narrator's [[voice-over]]. There are subtle, yet important, differences between terms expressing similar concepts. Direct cinema is largely concerned with the recording of events in which the subject and audience become unaware of the camera's presence: operating within what [[Bill Nichols (film critic)\|Bill Nichols]],<ref>Nichols, Bill. ''Introducing the Documentary''. Indiana University Press, 2001, p. 109</ref> an American historian and theoretician of documentary film, calls the "observational mode", a [[fly on the wall]]. Many therefore see a paradox in drawing attention away from the presence of the camera and simultaneously interfering in the reality it registers when attempting to discover a cinematic truth.

Citation bot: Misc citation tidying. | Use this bot. Report bugs. | #UCB_CommandLine

2024-08-26T22:04:00Z

Misc citation tidying. | Use this bot. Report bugs. | #UCB_CommandLine

← Previous revision		Revision as of 22:04, 26 August 2024
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	* ''[[D.A. Pennebaker\|Daybreak Express]]'' (1953)<ref name="jan2023"/><ref name="veritieshorts"/>		* ''[[D.A. Pennebaker\|Daybreak Express]]'' (1953)<ref name="jan2023"/><ref name="veritieshorts"/>
	* ''[[Vittorio De Seta\|Sea Countrymen]]'' (1955)<ref name="jan2023"/><ref name="veritieshorts"/>		* ''[[Vittorio De Seta\|Sea Countrymen]]'' (1955)<ref name="jan2023"/><ref name="veritieshorts"/>
	* ''[[Primary (film)\|Primary]]'' (1960)<ref name="The Godfather of Cinéma Vérité" /><ref>{{cite journal \| url=https://www.jstor.org/stable/1224885 \| jstor=1224885 \| title=Realism as a Style in Cinema Verite: A Critical Analysis of "Primary" \| last1=Hall \| first1=Jeanne \| journal=Cinema Journal \| date=1991 \| volume=30 \| issue=4 \| pages=24–50 \| doi=10.2307/1224885 }}</ref><ref name="1960scinemaveritie"/><ref name="howtousecinemavertie"/><ref name="taughtmevertie"/><ref name="criterionveritie"/><ref name="jan2023"/><ref>[https://~~www~~.google.com/books~~/edition/The_I_of_the_Camera/R92ziB67AMIC~~?hl=~~en&gbpv=1~~ The 'I' of the Camera - Google Books (pg.281)]</ref>		* ''[[Primary (film)\|Primary]]'' (1960)<ref name="The Godfather of Cinéma Vérité" /><ref>{{cite journal \| url=https://www.jstor.org/stable/1224885 \| jstor=1224885 \| title=Realism as a Style in Cinema Verite: A Critical Analysis of "Primary" \| last1=Hall \| first1=Jeanne \| journal=Cinema Journal \| date=1991 \| volume=30 \| issue=4 \| pages=24–50 \| doi=10.2307/1224885 }}</ref><ref name="1960scinemaveritie"/><ref name="howtousecinemavertie"/><ref name="taughtmevertie"/><ref name="criterionveritie"/><ref name="jan2023"/><ref>[https://books.google.com/books?id=R92ziB67AMIC The 'I' of the Camera - Google Books (pg.281)]</ref>
	*''[[Chronique d'un été\|Chronicle of a Summer]]'' (1961)<ref>[https://www.criterion.com/films/28394-chronicle-of-a-summer Chronicle of a Summer (1961)\|The Criterion Collection]</ref><ref name="howtousecinemavertie"/><ref name="doesveritieexist?"/><ref name="criterionveritie"/><ref name="filmfourmverite"/>		*''[[Chronique d'un été\|Chronicle of a Summer]]'' (1961)<ref>[https://www.criterion.com/films/28394-chronicle-of-a-summer Chronicle of a Summer (1961)\|The Criterion Collection]</ref><ref name="howtousecinemavertie"/><ref name="doesveritieexist?"/><ref name="criterionveritie"/><ref name="filmfourmverite"/>
	*''[[Crisis: Behind a Presidential Commitment]]'' (1963)<ref name="doesveritieexist?">[https://www.nytimes.com/2020/06/25/movies/cinema-verite.html Does Cinéma Vérité Exist? Watch These 2 Movies to Find Out - The New York Times]</ref><ref name="criterionveritie"/><ref name="jan2023"/><ref name="filmfourmverite"/>		*''[[Crisis: Behind a Presidential Commitment]]'' (1963)<ref name="doesveritieexist?">[https://www.nytimes.com/2020/06/25/movies/cinema-verite.html Does Cinéma Vérité Exist? Watch These 2 Movies to Find Out - The New York Times]</ref><ref name="criterionveritie"/><ref name="jan2023"/><ref name="filmfourmverite"/>

RodRabelo7: replacing {{IPA-fr| → {{IPA|fr| (deprecated template)

2024-08-21T07:18:29Z

replacing {{IPA-fr| → {{IPA|fr| (deprecated template)

← Previous revision		Revision as of 07:18, 21 August 2024
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	{{other uses\|Cinéma vérité (disambiguation)}}		{{other uses\|Cinéma vérité (disambiguation)}}

	'''Cinéma vérité''' ({{IPAc-en\|UK\|ˌ\|s\|ɪ\|n\|ᵻ\|m\|ə\|_\|ˈ\|v\|ɛr\|ᵻ\|t\|eɪ}}, {{IPAc-en\|US\|-\|_\|ˌ\|v\|ɛr\|ᵻ\|ˈ\|t\|eɪ}}, {{IPA-fr\|sinema veʁite\|lang}} {{Lit.\|}} truth cinema; "truthful cinema") is a style of [[documentary film]]making developed by [[Edgar Morin]] and [[Jean Rouch]], inspired by [[Dziga Vertov]]'s theory about ''[[Kino-Pravda]]''. It combines improvisation with use of the camera to unveil truth or highlight subjects hidden behind reality.<ref>{{Cite web \|title=Glossary of Rouchian Terms \|url=http://www.maitres-fous.net/glossary.html \|archive-url=https://web.archive.org/web/20190430033332/http://www.maitres-fous.net/glossary.html \|archive-date=30 April 2019 \|access-date=2024-03-02 \|website=www.maitres-fous.net}}</ref><ref>		'''Cinéma vérité''' ({{IPAc-en\|UK\|ˌ\|s\|ɪ\|n\|ᵻ\|m\|ə\|_\|ˈ\|v\|ɛr\|ᵻ\|t\|eɪ}}, {{IPAc-en\|US\|-\|_\|ˌ\|v\|ɛr\|ᵻ\|ˈ\|t\|eɪ}}, {{IPA\|fr\|sinema veʁite\|lang}} {{Lit.\|}} truth cinema; "truthful cinema") is a style of [[documentary film]]making developed by [[Edgar Morin]] and [[Jean Rouch]], inspired by [[Dziga Vertov]]'s theory about ''[[Kino-Pravda]]''. It combines improvisation with use of the camera to unveil truth or highlight subjects hidden behind reality.<ref>{{Cite web \|title=Glossary of Rouchian Terms \|url=http://www.maitres-fous.net/glossary.html \|archive-url=https://web.archive.org/web/20190430033332/http://www.maitres-fous.net/glossary.html \|archive-date=30 April 2019 \|access-date=2024-03-02 \|website=www.maitres-fous.net}}</ref><ref>
	[http://www.imakenews.com/gothamsound/e_article002082700.cfm?x=0,b11,w Ricky Leacock and “The Sense of Being There”] {{webarchive\|url=https://web.archive.org/web/20130614232209/http://www.imakenews.com/gothamsound/e_article002082700.cfm?x=0%2Cb11%2Cw \|date=2013-06-14 }} – Article by Stephen Altobello at IMN</ref><ref>[http://www.bbc.co.uk/programmes/b012tnml ''Camera that Changed the World''], [[BBC Four]].</ref>		[http://www.imakenews.com/gothamsound/e_article002082700.cfm?x=0,b11,w Ricky Leacock and “The Sense of Being There”] {{webarchive\|url=https://web.archive.org/web/20130614232209/http://www.imakenews.com/gothamsound/e_article002082700.cfm?x=0%2Cb11%2Cw \|date=2013-06-14 }} – Article by Stephen Altobello at IMN</ref><ref>[http://www.bbc.co.uk/programmes/b012tnml ''Camera that Changed the World''], [[BBC Four]].</ref>
	It is sometimes called '''observational cinema''',<ref>[http://www.karamumedia12.wikispaces.com/file/view/Direct+Cinema.doc Direct Cinema] {{Webarchive\|url=https://web.archive.org/web/20190406153716/https://www.karamumedia12.wikispaces.com/file/view/Direct%2BCinema.doc \|date=2019-04-06 }} at [http://www.karamumedia12.wikispaces.com Karamumedia12] {{Webarchive\|url=https://web.archive.org/web/20190406153712/https://www.karamumedia12.wikispaces.com/ \|date=April 6, 2019 }}.</ref><ref>[http://www.filmreference.com/encyclopedia/Criticism-Ideology/Documentary-OBSERVATIONAL-DOCUMENTARY.html Observational documentary] at [http://www.filmreference.com Film Reference]</ref> if understood as pure [[direct cinema]]: mainly without a narrator's [[voice-over]]. There are subtle, yet important, differences between terms expressing similar concepts. Direct cinema is largely concerned with the recording of events in which the subject and audience become unaware of the camera's presence: operating within what [[Bill Nichols (film critic)\|Bill Nichols]],<ref>Nichols, Bill. ''Introducing the Documentary''. Indiana University Press, 2001, p. 109</ref> an American historian and theoretician of documentary film, calls the "observational mode", a [[fly on the wall]]. Many therefore see a paradox in drawing attention away from the presence of the camera and simultaneously interfering in the reality it registers when attempting to discover a cinematic truth.		It is sometimes called '''observational cinema''',<ref>[http://www.karamumedia12.wikispaces.com/file/view/Direct+Cinema.doc Direct Cinema] {{Webarchive\|url=https://web.archive.org/web/20190406153716/https://www.karamumedia12.wikispaces.com/file/view/Direct%2BCinema.doc \|date=2019-04-06 }} at [http://www.karamumedia12.wikispaces.com Karamumedia12] {{Webarchive\|url=https://web.archive.org/web/20190406153712/https://www.karamumedia12.wikispaces.com/ \|date=April 6, 2019 }}.</ref><ref>[http://www.filmreference.com/encyclopedia/Criticism-Ideology/Documentary-OBSERVATIONAL-DOCUMENTARY.html Observational documentary] at [http://www.filmreference.com Film Reference]</ref> if understood as pure [[direct cinema]]: mainly without a narrator's [[voice-over]]. There are subtle, yet important, differences between terms expressing similar concepts. Direct cinema is largely concerned with the recording of events in which the subject and audience become unaware of the camera's presence: operating within what [[Bill Nichols (film critic)\|Bill Nichols]],<ref>Nichols, Bill. ''Introducing the Documentary''. Indiana University Press, 2001, p. 109</ref> an American historian and theoretician of documentary film, calls the "observational mode", a [[fly on the wall]]. Many therefore see a paradox in drawing attention away from the presence of the camera and simultaneously interfering in the reality it registers when attempting to discover a cinematic truth.

Citation bot: Altered template type. Added encyclopedia. Removed parameters. Some additions/deletions were parameter name changes. | Use this bot. Report bugs. | Suggested by Superegz | Category:New Wave in cinema‎ | #UCB_Category 25/25

2024-06-30T11:45:18Z

Altered template type. Added encyclopedia. Removed parameters. Some additions/deletions were parameter name changes. | Use this bot. Report bugs. | Suggested by Superegz | Category:New Wave in cinema‎ | #UCB_Category 25/25

← Previous revision		Revision as of 11:45, 30 June 2024
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	*''[[Say Amen, Somebody]]'' (1982)<ref>[https://books.google.com/books?id=_M3nR4wI99AC&dq=Decline+of+western+civilization+verite&pg=PA380 A New Pot of Gold: Hollywood Under the Electronic Rainbow, 1980 1989 - Google Books (pg. 380)]</ref>		*''[[Say Amen, Somebody]]'' (1982)<ref>[https://books.google.com/books?id=_M3nR4wI99AC&dq=Decline+of+western+civilization+verite&pg=PA380 A New Pot of Gold: Hollywood Under the Electronic Rainbow, 1980 1989 - Google Books (pg. 380)]</ref>
	*''[[Streetwise (1984 film)\|Streetwise]]'' (1984)<ref>[https://www.criterion.com/current/posts/6502-two-stark-visions-of-the-american-underbelly-hit-the-big-screen Two Stark Visions of the American Underbelly Hit the Big Screen\|Current\|The Criterion Collection]</ref>		*''[[Streetwise (1984 film)\|Streetwise]]'' (1984)<ref>[https://www.criterion.com/current/posts/6502-two-stark-visions-of-the-american-underbelly-hit-the-big-screen Two Stark Visions of the American Underbelly Hit the Big Screen\|Current\|The Criterion Collection]</ref>
	*''[[Sherman's March (1986 film)\|Sherman's March]] '' (1986)<ref>{{cite ~~web~~\|url = https://www.georgiaencyclopedia.org/articles/arts-culture/shermans-march-film/\|title= Sherman's March - film\|~~work~~= New Georgia Encyclopedia\|first = Christopher Allen \|last=Huff\|date = 9 August 2013}}</ref>		*''[[Sherman's March (1986 film)\|Sherman's March]] '' (1986)<ref>{{cite encyclopedia\|url = https://www.georgiaencyclopedia.org/articles/arts-culture/shermans-march-film/\|title= Sherman's March - film\|encyclopedia= New Georgia Encyclopedia\|first = Christopher Allen \|last=Huff\|date = 9 August 2013}}</ref>
	*''[[Crack USA: County Under Siege]]'' (1989)<ref>[https://books.google.com/books?id=8NrFDwAAQBAJ Television History, the Peabody Archive, and Cultural Memory - Google Books]</ref>		*''[[Crack USA: County Under Siege]]'' (1989)<ref>[https://books.google.com/books?id=8NrFDwAAQBAJ Television History, the Peabody Archive, and Cultural Memory - Google Books]</ref>
	*''[[Paris Is Burning (film)\|Paris Is Burning]]'' (1990)<ref>{{cite web\|url = https://cinemaaxis.com/2019/06/17/paris-is-burning/\|title= Paris Is Burning \|work= Cinema Axis\|first = Barbara \|last=Goslawski\|date = June 17, 2019}}</ref><ref>[https://buffalonews.com/news/in-disguise-a-grotesque-mirror-on-the-culture-paris-is-burning-and-the-power-of/article_d0ae1bf7-e49d-5202-984d-3701664b27ff.html IN DISGUISE A GROTESQUE MIRROR ON THE CULTURE 'PARIS IS BURNING' AND THE ... - Buffalo News]</ref>		*''[[Paris Is Burning (film)\|Paris Is Burning]]'' (1990)<ref>{{cite web\|url = https://cinemaaxis.com/2019/06/17/paris-is-burning/\|title= Paris Is Burning \|work= Cinema Axis\|first = Barbara \|last=Goslawski\|date = June 17, 2019}}</ref><ref>[https://buffalonews.com/news/in-disguise-a-grotesque-mirror-on-the-culture-paris-is-burning-and-the-power-of/article_d0ae1bf7-e49d-5202-984d-3701664b27ff.html IN DISGUISE A GROTESQUE MIRROR ON THE CULTURE 'PARIS IS BURNING' AND THE ... - Buffalo News]</ref>

Espngeek: Correcting

2024-06-20T14:23:17Z

Correcting

← Previous revision		Revision as of 14:23, 20 June 2024
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	*''[[Control Room (film)\|Control Room]]'' (2004)<ref>[https://www.nytimes.com/2004/12/12/magazine/enter-narcicinema.html Enter Narci-Cinema - The New York Times]</ref>		*''[[Control Room (film)\|Control Room]]'' (2004)<ref>[https://www.nytimes.com/2004/12/12/magazine/enter-narcicinema.html Enter Narci-Cinema - The New York Times]</ref>
	*''[[Murderball (film)\|Murderball]]'' (2005)<ref name="taughtmevertie">[https://aframe.oscars.org/what-to-watch/post/matthew-heineman-5-documentaries-that-taught-me-verite-filmmaking Matthew Heineman: 5 Documentaries That Taught Me Vérité Filmmaking\|A.frame]</ref>		*''[[Murderball (film)\|Murderball]]'' (2005)<ref name="taughtmevertie">[https://aframe.oscars.org/what-to-watch/post/matthew-heineman-5-documentaries-that-taught-me-verite-filmmaking Matthew Heineman: 5 Documentaries That Taught Me Vérité Filmmaking\|A.frame]</ref>
	*''[[How To Survive a Plague]]'' (2012)<ref>[https://mubi.com/en/notebook/posts/archival-verite-david-france-talks-about-the-death-and-life-of-marsha-p-johnson Archival Vérité: David France Talks about "The Death and Life of Marsha P. Johnson" on Notebook\|MUBI]</ref>		*''[[How to Survive a Plague]]'' (2012)<ref>[https://mubi.com/en/notebook/posts/archival-verite-david-france-talks-about-the-death-and-life-of-marsha-p-johnson Archival Vérité: David France Talks about "The Death and Life of Marsha P. Johnson" on Notebook\|MUBI]</ref>
	*''[[Dick Johnson Is Dead]]'' (2020)<ref>[https://www.criterion.com/films/32311-dick-johnson-is-dead Dick Johnson Is Dead (2020)\|The Criterion Collection]</ref>		*''[[Dick Johnson Is Dead]]'' (2020)<ref>[https://www.criterion.com/films/32311-dick-johnson-is-dead Dick Johnson Is Dead (2020)\|The Criterion Collection]</ref>
	*''[[Cow (2021 film)\|Cow]]'' (2021)<ref>[https://www.newyorker.com/culture/the-front-row/why-a-documentary-about-a-cow-reveals-the-limits-of-an-art-form Why a Documentary About a Cow Reveals the Limits of an Art Form\|The New Yorker]</ref>		*''[[Cow (2021 film)\|Cow]]'' (2021)<ref>[https://www.newyorker.com/culture/the-front-row/why-a-documentary-about-a-cow-reveals-the-limits-of-an-art-form Why a Documentary About a Cow Reveals the Limits of an Art Form\|The New Yorker]</ref>

← Previous revision		Revision as of 19:33, 10 October 2024
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	*''[[Murderball (film)\|Murderball]]'' (2005)<ref name="taughtmevertie">[https://aframe.oscars.org/what-to-watch/post/matthew-heineman-5-documentaries-that-taught-me-verite-filmmaking Matthew Heineman: 5 Documentaries That Taught Me Vérité Filmmaking\|A.frame]</ref>		*''[[Murderball (film)\|Murderball]]'' (2005)<ref name="taughtmevertie">[https://aframe.oscars.org/what-to-watch/post/matthew-heineman-5-documentaries-that-taught-me-verite-filmmaking Matthew Heineman: 5 Documentaries That Taught Me Vérité Filmmaking\|A.frame]</ref>
	*''[[How to Survive a Plague]]'' (2012)<ref>[https://mubi.com/en/notebook/posts/archival-verite-david-france-talks-about-the-death-and-life-of-marsha-p-johnson Archival Vérité: David France Talks about "The Death and Life of Marsha P. Johnson" on Notebook\|MUBI]</ref>		*''[[How to Survive a Plague]]'' (2012)<ref>[https://mubi.com/en/notebook/posts/archival-verite-david-france-talks-about-the-death-and-life-of-marsha-p-johnson Archival Vérité: David France Talks about "The Death and Life of Marsha P. Johnson" on Notebook\|MUBI]</ref>
	*''[[Frame by Frame (film)\|Frame by Frame]]'' (2015).<ref name=":0">{{Cite web\|url=http://filmmakermagazine.com/96432-if-youre-not-trusting-yourself-you-cant-be-creative-mo-scarpelli-and-alexandria-bombach-on-she-does-podcast/#.VxWx0\|title="… If you're not trusting yourself, you can't be creative": Mo Scarpelli and Alexandria Bombach on ''She Does'' podcast\|last=Ginsburg\|first=Elaine Sheldon and Sarah\|website=Filmmaker Magazine\|date=19 November 2015\|access-date=2016-05-03}}</ref>		*''[[Frame by Frame (film)\|Frame by Frame]]'' (2015)<ref name=":0">{{Cite web\|url=http://filmmakermagazine.com/96432-if-youre-not-trusting-yourself-you-cant-be-creative-mo-scarpelli-and-alexandria-bombach-on-she-does-podcast/#.VxWx0\|title="… If you're not trusting yourself, you can't be creative": Mo Scarpelli and Alexandria Bombach on ''She Does'' podcast\|last=Ginsburg\|first=Elaine Sheldon and Sarah\|website=Filmmaker Magazine\|date=19 November 2015\|access-date=2016-05-03}}</ref>
	*''[[Dick Johnson Is Dead]]'' (2020)<ref>[https://www.criterion.com/films/32311-dick-johnson-is-dead Dick Johnson Is Dead (2020)\|The Criterion Collection]</ref>		*''[[Dick Johnson Is Dead]]'' (2020)<ref>[https://www.criterion.com/films/32311-dick-johnson-is-dead Dick Johnson Is Dead (2020)\|The Criterion Collection]</ref>
	*''[[Cow (2021 film)\|Cow]]'' (2021)<ref>[https://www.newyorker.com/culture/the-front-row/why-a-documentary-about-a-cow-reveals-the-limits-of-an-art-form Why a Documentary About a Cow Reveals the Limits of an Art Form\|The New Yorker]</ref>		*''[[Cow (2021 film)\|Cow]]'' (2021)<ref>[https://www.newyorker.com/culture/the-front-row/why-a-documentary-about-a-cow-reveals-the-limits-of-an-art-form Why a Documentary About a Cow Reveals the Limits of an Art Form\|The New Yorker]</ref>

← Previous revision		Revision as of 19:32, 10 October 2024
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	*''[[Murderball (film)\|Murderball]]'' (2005)<ref name="taughtmevertie">[https://aframe.oscars.org/what-to-watch/post/matthew-heineman-5-documentaries-that-taught-me-verite-filmmaking Matthew Heineman: 5 Documentaries That Taught Me Vérité Filmmaking\|A.frame]</ref>		*''[[Murderball (film)\|Murderball]]'' (2005)<ref name="taughtmevertie">[https://aframe.oscars.org/what-to-watch/post/matthew-heineman-5-documentaries-that-taught-me-verite-filmmaking Matthew Heineman: 5 Documentaries That Taught Me Vérité Filmmaking\|A.frame]</ref>
	*''[[How to Survive a Plague]]'' (2012)<ref>[https://mubi.com/en/notebook/posts/archival-verite-david-france-talks-about-the-death-and-life-of-marsha-p-johnson Archival Vérité: David France Talks about "The Death and Life of Marsha P. Johnson" on Notebook\|MUBI]</ref>		*''[[How to Survive a Plague]]'' (2012)<ref>[https://mubi.com/en/notebook/posts/archival-verite-david-france-talks-about-the-death-and-life-of-marsha-p-johnson Archival Vérité: David France Talks about "The Death and Life of Marsha P. Johnson" on Notebook\|MUBI]</ref>
			*''[[Frame by Frame (film)\|Frame by Frame]]'' (2015).<ref name=":0">{{Cite web\|url=http://filmmakermagazine.com/96432-if-youre-not-trusting-yourself-you-cant-be-creative-mo-scarpelli-and-alexandria-bombach-on-she-does-podcast/#.VxWx0\|title="… If you're not trusting yourself, you can't be creative": Mo Scarpelli and Alexandria Bombach on ''She Does'' podcast\|last=Ginsburg\|first=Elaine Sheldon and Sarah\|website=Filmmaker Magazine\|date=19 November 2015\|access-date=2016-05-03}}</ref>
	*''[[Dick Johnson Is Dead]]'' (2020)<ref>[https://www.criterion.com/films/32311-dick-johnson-is-dead Dick Johnson Is Dead (2020)\|The Criterion Collection]</ref>		*''[[Dick Johnson Is Dead]]'' (2020)<ref>[https://www.criterion.com/films/32311-dick-johnson-is-dead Dick Johnson Is Dead (2020)\|The Criterion Collection]</ref>
	*''[[Cow (2021 film)\|Cow]]'' (2021)<ref>[https://www.newyorker.com/culture/the-front-row/why-a-documentary-about-a-cow-reveals-the-limits-of-an-art-form Why a Documentary About a Cow Reveals the Limits of an Art Form\|The New Yorker]</ref>		*''[[Cow (2021 film)\|Cow]]'' (2021)<ref>[https://www.newyorker.com/culture/the-front-row/why-a-documentary-about-a-cow-reveals-the-limits-of-an-art-form Why a Documentary About a Cow Reveals the Limits of an Art Form\|The New Yorker]</ref>

← Previous revision		Revision as of 18:32, 16 September 2024
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	{{other uses\|Cinéma vérité (disambiguation)}}		{{other uses\|Cinéma vérité (disambiguation)}}

	'''Cinéma vérité''' ({{IPAc-en\|UK\|ˌ\|s\|ɪ\|n\|ᵻ\|m\|ə\|_\|ˈ\|v\|ɛr\|ᵻ\|t\|eɪ}}, {{IPAc-en\|US\|-\|_\|ˌ\|v\|ɛr\|ᵻ\|ˈ\|t\|eɪ}}, {{IPA\|fr\|sinema veʁite\|lang}} {{Lit.\|}} truth cinema~~; "~~truthful cinema") is a style of [[documentary film]]making developed by [[Edgar Morin]] and [[Jean Rouch]], inspired by [[Dziga Vertov]]'s theory about ''[[Kino-Pravda]]''. It combines improvisation with use of the camera to unveil truth or highlight subjects hidden behind reality.<ref>{{Cite web \|title=Glossary of Rouchian Terms \|url=http://www.maitres-fous.net/glossary.html \|archive-url=https://web.archive.org/web/20190430033332/http://www.maitres-fous.net/glossary.html \|archive-date=30 April 2019 \|access-date=2024-03-02 \|website=www.maitres-fous.net}}</ref><ref>		'''Cinéma vérité''' ({{IPAc-en\|UK\|ˌ\|s\|ɪ\|n\|ᵻ\|m\|ə\|_\|ˈ\|v\|ɛr\|ᵻ\|t\|eɪ}}, {{IPAc-en\|US\|-\|_\|ˌ\|v\|ɛr\|ᵻ\|ˈ\|t\|eɪ}}, {{IPA\|fr\|sinema veʁite\|lang}} {{Lit\| truth cinema\|truthful cinema}}) is a style of [[documentary film]]making developed by [[Edgar Morin]] and [[Jean Rouch]], inspired by [[Dziga Vertov]]'s theory about ''[[Kino-Pravda]]''. It combines improvisation with use of the camera to unveil truth or highlight subjects hidden behind reality.<ref>{{Cite web \|title=Glossary of Rouchian Terms \|url=http://www.maitres-fous.net/glossary.html \|archive-url=https://web.archive.org/web/20190430033332/http://www.maitres-fous.net/glossary.html \|archive-date=30 April 2019 \|access-date=2024-03-02 \|website=www.maitres-fous.net}}</ref><ref>
	[http://www.imakenews.com/gothamsound/e_article002082700.cfm?x=0,b11,w Ricky Leacock and “The Sense of Being There”] {{webarchive\|url=https://web.archive.org/web/20130614232209/http://www.imakenews.com/gothamsound/e_article002082700.cfm?x=0%2Cb11%2Cw \|date=2013-06-14 }} – Article by Stephen Altobello at IMN</ref><ref>[http://www.bbc.co.uk/programmes/b012tnml ''Camera that Changed the World''], [[BBC Four]].</ref>		[http://www.imakenews.com/gothamsound/e_article002082700.cfm?x=0,b11,w Ricky Leacock and “The Sense of Being There”] {{webarchive\|url=https://web.archive.org/web/20130614232209/http://www.imakenews.com/gothamsound/e_article002082700.cfm?x=0%2Cb11%2Cw \|date=2013-06-14 }} – Article by Stephen Altobello at IMN</ref><ref>[http://www.bbc.co.uk/programmes/b012tnml ''Camera that Changed the World''], [[BBC Four]].</ref>
	It is sometimes called '''observational cinema''',<ref>[http://www.karamumedia12.wikispaces.com/file/view/Direct+Cinema.doc Direct Cinema] {{Webarchive\|url=https://web.archive.org/web/20190406153716/https://www.karamumedia12.wikispaces.com/file/view/Direct%2BCinema.doc \|date=2019-04-06 }} at [http://www.karamumedia12.wikispaces.com Karamumedia12] {{Webarchive\|url=https://web.archive.org/web/20190406153712/https://www.karamumedia12.wikispaces.com/ \|date=April 6, 2019 }}.</ref><ref>[http://www.filmreference.com/encyclopedia/Criticism-Ideology/Documentary-OBSERVATIONAL-DOCUMENTARY.html Observational documentary] at [http://www.filmreference.com Film Reference]</ref> if understood as pure [[direct cinema]]: mainly without a narrator's [[voice-over]]. There are subtle, yet important, differences between terms expressing similar concepts. Direct cinema is largely concerned with the recording of events in which the subject and audience become unaware of the camera's presence: operating within what [[Bill Nichols (film critic)\|Bill Nichols]],<ref>Nichols, Bill. ''Introducing the Documentary''. Indiana University Press, 2001, p. 109</ref> an American historian and theoretician of documentary film, calls the "observational mode", a [[fly on the wall]]. Many therefore see a paradox in drawing attention away from the presence of the camera and simultaneously interfering in the reality it registers when attempting to discover a cinematic truth.		It is sometimes called '''observational cinema''',<ref>[http://www.karamumedia12.wikispaces.com/file/view/Direct+Cinema.doc Direct Cinema] {{Webarchive\|url=https://web.archive.org/web/20190406153716/https://www.karamumedia12.wikispaces.com/file/view/Direct%2BCinema.doc \|date=2019-04-06 }} at [http://www.karamumedia12.wikispaces.com Karamumedia12] {{Webarchive\|url=https://web.archive.org/web/20190406153712/https://www.karamumedia12.wikispaces.com/ \|date=April 6, 2019 }}.</ref><ref>[http://www.filmreference.com/encyclopedia/Criticism-Ideology/Documentary-OBSERVATIONAL-DOCUMENTARY.html Observational documentary] at [http://www.filmreference.com Film Reference]</ref> if understood as pure [[direct cinema]]: mainly without a narrator's [[voice-over]]. There are subtle, yet important, differences between terms expressing similar concepts. Direct cinema is largely concerned with the recording of events in which the subject and audience become unaware of the camera's presence: operating within what [[Bill Nichols (film critic)\|Bill Nichols]],<ref>Nichols, Bill. ''Introducing the Documentary''. Indiana University Press, 2001, p. 109</ref> an American historian and theoretician of documentary film, calls the "observational mode", a [[fly on the wall]]. Many therefore see a paradox in drawing attention away from the presence of the camera and simultaneously interfering in the reality it registers when attempting to discover a cinematic truth.

← Previous revision		Revision as of 22:04, 26 August 2024
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	* ''[[D.A. Pennebaker\|Daybreak Express]]'' (1953)<ref name="jan2023"/><ref name="veritieshorts"/>		* ''[[D.A. Pennebaker\|Daybreak Express]]'' (1953)<ref name="jan2023"/><ref name="veritieshorts"/>
	* ''[[Vittorio De Seta\|Sea Countrymen]]'' (1955)<ref name="jan2023"/><ref name="veritieshorts"/>		* ''[[Vittorio De Seta\|Sea Countrymen]]'' (1955)<ref name="jan2023"/><ref name="veritieshorts"/>
	* ''[[Primary (film)\|Primary]]'' (1960)<ref name="The Godfather of Cinéma Vérité" /><ref>{{cite journal \| url=https://www.jstor.org/stable/1224885 \| jstor=1224885 \| title=Realism as a Style in Cinema Verite: A Critical Analysis of "Primary" \| last1=Hall \| first1=Jeanne \| journal=Cinema Journal \| date=1991 \| volume=30 \| issue=4 \| pages=24–50 \| doi=10.2307/1224885 }}</ref><ref name="1960scinemaveritie"/><ref name="howtousecinemavertie"/><ref name="taughtmevertie"/><ref name="criterionveritie"/><ref name="jan2023"/><ref>[https://~~www~~.google.com/books~~/edition/The_I_of_the_Camera/R92ziB67AMIC~~?hl=~~en&gbpv=1~~ The 'I' of the Camera - Google Books (pg.281)]</ref>		* ''[[Primary (film)\|Primary]]'' (1960)<ref name="The Godfather of Cinéma Vérité" /><ref>{{cite journal \| url=https://www.jstor.org/stable/1224885 \| jstor=1224885 \| title=Realism as a Style in Cinema Verite: A Critical Analysis of "Primary" \| last1=Hall \| first1=Jeanne \| journal=Cinema Journal \| date=1991 \| volume=30 \| issue=4 \| pages=24–50 \| doi=10.2307/1224885 }}</ref><ref name="1960scinemaveritie"/><ref name="howtousecinemavertie"/><ref name="taughtmevertie"/><ref name="criterionveritie"/><ref name="jan2023"/><ref>[https://books.google.com/books?id=R92ziB67AMIC The 'I' of the Camera - Google Books (pg.281)]</ref>
	*''[[Chronique d'un été\|Chronicle of a Summer]]'' (1961)<ref>[https://www.criterion.com/films/28394-chronicle-of-a-summer Chronicle of a Summer (1961)\|The Criterion Collection]</ref><ref name="howtousecinemavertie"/><ref name="doesveritieexist?"/><ref name="criterionveritie"/><ref name="filmfourmverite"/>		*''[[Chronique d'un été\|Chronicle of a Summer]]'' (1961)<ref>[https://www.criterion.com/films/28394-chronicle-of-a-summer Chronicle of a Summer (1961)\|The Criterion Collection]</ref><ref name="howtousecinemavertie"/><ref name="doesveritieexist?"/><ref name="criterionveritie"/><ref name="filmfourmverite"/>
	*''[[Crisis: Behind a Presidential Commitment]]'' (1963)<ref name="doesveritieexist?">[https://www.nytimes.com/2020/06/25/movies/cinema-verite.html Does Cinéma Vérité Exist? Watch These 2 Movies to Find Out - The New York Times]</ref><ref name="criterionveritie"/><ref name="jan2023"/><ref name="filmfourmverite"/>		*''[[Crisis: Behind a Presidential Commitment]]'' (1963)<ref name="doesveritieexist?">[https://www.nytimes.com/2020/06/25/movies/cinema-verite.html Does Cinéma Vérité Exist? Watch These 2 Movies to Find Out - The New York Times]</ref><ref name="criterionveritie"/><ref name="jan2023"/><ref name="filmfourmverite"/>

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	{{other uses\|Cinéma vérité (disambiguation)}}		{{other uses\|Cinéma vérité (disambiguation)}}

	'''Cinéma vérité''' ({{IPAc-en\|UK\|ˌ\|s\|ɪ\|n\|ᵻ\|m\|ə\|_\|ˈ\|v\|ɛr\|ᵻ\|t\|eɪ}}, {{IPAc-en\|US\|-\|_\|ˌ\|v\|ɛr\|ᵻ\|ˈ\|t\|eɪ}}, {{IPA-fr\|sinema veʁite\|lang}} {{Lit.\|}} truth cinema; "truthful cinema") is a style of [[documentary film]]making developed by [[Edgar Morin]] and [[Jean Rouch]], inspired by [[Dziga Vertov]]'s theory about ''[[Kino-Pravda]]''. It combines improvisation with use of the camera to unveil truth or highlight subjects hidden behind reality.<ref>{{Cite web \|title=Glossary of Rouchian Terms \|url=http://www.maitres-fous.net/glossary.html \|archive-url=https://web.archive.org/web/20190430033332/http://www.maitres-fous.net/glossary.html \|archive-date=30 April 2019 \|access-date=2024-03-02 \|website=www.maitres-fous.net}}</ref><ref>		'''Cinéma vérité''' ({{IPAc-en\|UK\|ˌ\|s\|ɪ\|n\|ᵻ\|m\|ə\|_\|ˈ\|v\|ɛr\|ᵻ\|t\|eɪ}}, {{IPAc-en\|US\|-\|_\|ˌ\|v\|ɛr\|ᵻ\|ˈ\|t\|eɪ}}, {{IPA\|fr\|sinema veʁite\|lang}} {{Lit.\|}} truth cinema; "truthful cinema") is a style of [[documentary film]]making developed by [[Edgar Morin]] and [[Jean Rouch]], inspired by [[Dziga Vertov]]'s theory about ''[[Kino-Pravda]]''. It combines improvisation with use of the camera to unveil truth or highlight subjects hidden behind reality.<ref>{{Cite web \|title=Glossary of Rouchian Terms \|url=http://www.maitres-fous.net/glossary.html \|archive-url=https://web.archive.org/web/20190430033332/http://www.maitres-fous.net/glossary.html \|archive-date=30 April 2019 \|access-date=2024-03-02 \|website=www.maitres-fous.net}}</ref><ref>
	[http://www.imakenews.com/gothamsound/e_article002082700.cfm?x=0,b11,w Ricky Leacock and “The Sense of Being There”] {{webarchive\|url=https://web.archive.org/web/20130614232209/http://www.imakenews.com/gothamsound/e_article002082700.cfm?x=0%2Cb11%2Cw \|date=2013-06-14 }} – Article by Stephen Altobello at IMN</ref><ref>[http://www.bbc.co.uk/programmes/b012tnml ''Camera that Changed the World''], [[BBC Four]].</ref>		[http://www.imakenews.com/gothamsound/e_article002082700.cfm?x=0,b11,w Ricky Leacock and “The Sense of Being There”] {{webarchive\|url=https://web.archive.org/web/20130614232209/http://www.imakenews.com/gothamsound/e_article002082700.cfm?x=0%2Cb11%2Cw \|date=2013-06-14 }} – Article by Stephen Altobello at IMN</ref><ref>[http://www.bbc.co.uk/programmes/b012tnml ''Camera that Changed the World''], [[BBC Four]].</ref>
	It is sometimes called '''observational cinema''',<ref>[http://www.karamumedia12.wikispaces.com/file/view/Direct+Cinema.doc Direct Cinema] {{Webarchive\|url=https://web.archive.org/web/20190406153716/https://www.karamumedia12.wikispaces.com/file/view/Direct%2BCinema.doc \|date=2019-04-06 }} at [http://www.karamumedia12.wikispaces.com Karamumedia12] {{Webarchive\|url=https://web.archive.org/web/20190406153712/https://www.karamumedia12.wikispaces.com/ \|date=April 6, 2019 }}.</ref><ref>[http://www.filmreference.com/encyclopedia/Criticism-Ideology/Documentary-OBSERVATIONAL-DOCUMENTARY.html Observational documentary] at [http://www.filmreference.com Film Reference]</ref> if understood as pure [[direct cinema]]: mainly without a narrator's [[voice-over]]. There are subtle, yet important, differences between terms expressing similar concepts. Direct cinema is largely concerned with the recording of events in which the subject and audience become unaware of the camera's presence: operating within what [[Bill Nichols (film critic)\|Bill Nichols]],<ref>Nichols, Bill. ''Introducing the Documentary''. Indiana University Press, 2001, p. 109</ref> an American historian and theoretician of documentary film, calls the "observational mode", a [[fly on the wall]]. Many therefore see a paradox in drawing attention away from the presence of the camera and simultaneously interfering in the reality it registers when attempting to discover a cinematic truth.		It is sometimes called '''observational cinema''',<ref>[http://www.karamumedia12.wikispaces.com/file/view/Direct+Cinema.doc Direct Cinema] {{Webarchive\|url=https://web.archive.org/web/20190406153716/https://www.karamumedia12.wikispaces.com/file/view/Direct%2BCinema.doc \|date=2019-04-06 }} at [http://www.karamumedia12.wikispaces.com Karamumedia12] {{Webarchive\|url=https://web.archive.org/web/20190406153712/https://www.karamumedia12.wikispaces.com/ \|date=April 6, 2019 }}.</ref><ref>[http://www.filmreference.com/encyclopedia/Criticism-Ideology/Documentary-OBSERVATIONAL-DOCUMENTARY.html Observational documentary] at [http://www.filmreference.com Film Reference]</ref> if understood as pure [[direct cinema]]: mainly without a narrator's [[voice-over]]. There are subtle, yet important, differences between terms expressing similar concepts. Direct cinema is largely concerned with the recording of events in which the subject and audience become unaware of the camera's presence: operating within what [[Bill Nichols (film critic)\|Bill Nichols]],<ref>Nichols, Bill. ''Introducing the Documentary''. Indiana University Press, 2001, p. 109</ref> an American historian and theoretician of documentary film, calls the "observational mode", a [[fly on the wall]]. Many therefore see a paradox in drawing attention away from the presence of the camera and simultaneously interfering in the reality it registers when attempting to discover a cinematic truth.