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Which clippings match 'Maysles Brothers' 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
03 MARCH 2011

The camera's relation to reality is addressed directly by the documentary filmmaker

"The issue of the camera's relation to reality, which permeates the fiction film, is addressed directly by the documentary filmmaker, who has always aspired toward capturing the sight and sound of life in an unobtrusive and impartial manner. The ambivalent nature of the medium, which excludes the human element as an intermediary but nevertheless implies a subjective viewpoint, gives rise to issues concerning the camera's legitimacy to record the 'obscene' object of reality. Questions about what degrees of faithfulness to the truth establish a film as a documentary, and whether such faithfulness is even possible, have accompanied the history of documentary filmmaking since its origin.

In the meantime, partly due to the technological advancements, documentary underwent a revival, and experimentations with the new technology abounded. The answer of 'direct cinema', which included Richard Leacock, Donn A. Pennebaker and the Maysles brothers as its representatives, was a purist approach in which the impact of the observer on the observed had to be kept to a minimum. Interviews, voice–over commentary and any other forms of interaction with the subject matter were considered to contaminate the result of the observation. Others like, Pierre Perrault, used the new equipment to draw meaning from the seemingly insignificant and the quotidian, attempting to find greater meaning in and unity to the whole by observing and bringing together the small elements of everyday life."

(Barbara Bruni, Senses of Cinema)

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TAGS

ambivalence • Andre Bazinauthorial intrusion • Chronicle of a Summer • cinema veritecommentaryconstructed realitydirect cinemadocumentarydocumentary filmmakerdocumentary filmmakingdocumentary truthDonn A. Pennebaker • Edgar Morin • ethnographiceveryday lifeexperimentationfiction filmimpartiality • intermediary • interviewJean Rouch • Lightning Over Water • Maysles Brothersmedium • Nicholas Ray • observation • Pierre Perrault • realityRichard LeacockSenses of Cinema (journal)subjective viewpointtechnological advancements • The Human Pyramid • truth • unobtrusive • voice-over • voice-over commentary

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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