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Which clippings match 'Albert Maysles' keyword pg.1 of 1
07 MARCH 2015

Albert Maysles: 26 November 1926 - 5 March 2015

"It is with great sadness that we announce the passing of our founder, legendary filmmaker Albert Maysles. Albert was a loving husband, father, brother and friend to many. For more than five decades, Albert created groundbreaking films, inspired filmmakers and touched all those with his humanity, presence and his belief in the power of love. He was also a teacher, mentor and a source of inspiration for countless filmmakers, artists and everyday people."

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CONTRIBUTOR

Simon Perkins
11 MARCH 2011

New technical possibilities: synchronous recording of sight and sound

"In the late 1950s major breakthroughs began to occur in the technology available to filmmakers. These occasioned what can be thought of either as something totally new under the artistic sun or merely as new ways of doing old things. What they permitted was the synchronous recording of sight and sound outside the confines of soundstages and studio back lots. Virtually anything that could be seen and heard could now be captured on sound film almost anywhere. These new technical possibilities did not dictate the uses to which they would be put, however. One of those uses was that of the Americans who called what they were doing direct cinema. Another was that of Frenchman Jean Rouch, who coined the term cinema verite (film truth) to apply to his own work."

(Jack Ellis and Betsy McLane, 2005, p.208)

Jack Ellis and Betsy McLane, A New History of Documentary Film, (2005), 208–325.

Fig.1 Albert (right) with David Maysles on the set of 'Grey Gardens' (1975).

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TAGS

16mm1950s3-lens turretAlbert Maysles • Arriflex • audio recorderauthorshipcamera technologycapturecinema veritecinematographyconvergencecreative practiceDavid Mayslesdevicedirect cinemadocumentaryDonn A. Pennebaker • Drew Associates • FFL • film truth • filmmakers • fixed focal length • history of cinemainnovationJean Rouch • lightweight • Nagranew technical possibilities • primary focal length • prime lens • realismRichard Leacock • Robert Drew • sight and sound • solution • sound film • soundstage • synchronous recording • technology • telephoto lens • Terrence McCartney Filgate • truthvisual depictionvisual languagezoom lens

CONTRIBUTOR

Simon Perkins
19 FEBRUARY 2011

Maysles Brothers: Salesman (1968)

"A landmark American documentary, Salesman captures in vivid detail the bygone era of the door–to–door salesman. While laboring to sell a gold–embossed version of the Good Book, Paul Brennan and his colleagues target the beleaguered masses–then face the demands of quotas and the frustrations of life on the road. Following Brennan on his daily rounds, the Maysles discover a real–life Willy Loman, walking the line from hype to despair."

(mubi.com)

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1968Albert Maysles • all-American • American dreamAmerican lifeBiblebygone era • Charles McDevitt • Charlotte Zwerinconstructed realityDavid Maysles • Death of a Salesman • desperationdirect cinemadocumentary filmdocumentary truth • door-to-door salesman • emotive manipulationethicseverydayfilm • Good Book • hype • James Baker • landmarkMaysles Brothers • Paul Brennan • profilmic • Raymond Martos • realreal-lifesales and profitSalesman (1968) • salesmen • salespeoplesocial realismsocial realitytruth • Willy Loman

CONTRIBUTOR

Simon Perkins
13 AUGUST 2005

Acknowledging the constructed nature of documentary production

"Direct cinema' and 'cinema verité' have historically constituted battlegrounds for the construction of documentary cinema. American direct cinema sought to abolish mediation as far as possible, aspiring to pure transparency. French cinema verité inserted the camera and the filmmaker directly into the profilmic space, and acknowledged the constructed nature of documentary production. ... both schools operated under the guidance of a mimetic imperative to better capture the real. Richard Leacock, insisting on direct cinema's fidelity to the real, once said that 'we don't cheat'."
Joanne Richardson (Durham, North Carolina)

Fig.2 Albert Maysles (right) shoots 1975's Grey Gardens with his brother and longtime production partner, David.

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