Folksonomy | Direct Cinema Filmmakers http://folksonomy.co/?rss=5412 Folksonomy.co is a structured repository of digital culture and creative practice. en-au Creative Commons License: (cc), Simon Perkins Sun, 24 Nov 2013 19:38:54 +1000 Sun, 24 Nov 2013 19:38:54 +1000 Constellations 2.0 http://folksonomy.co/?member=2 60 Folksonomy.co http://folksonomy.co/Folksonomy.gif http://folksonomy.co/ Thelonious Monk Straight No Chaser 1988 http://folksonomy.co/?permalink=3554 Expanding on footage of Monk s 1967 tour shot by Christian Blackwood Charlotte Zwering Gimme Shelter has created the definitive filmic portrait of the master bop pianist ndash composer This captivating DVD digs deeper into the life of the famously eccentric pianist ndash composer Straight No Chaser fleshes out Monk s character considerably ndash from his harmonic theories to his use of quarter ndash tones produced by hitting two adjacent piano keys simultaneously and occasionally even striking the boards with his entire forearm or his foot to his mysterious relationship with his patron baroness Nica de Koenigswarter Vlatko TopDocumentaryFilms com http://folksonomy.co/?permalink=3554 Sun, 24 Nov 2013 19:38:54 +1000 Jefferson Airplane Wakes Up New York Jean-Luc Godard Captures It http://folksonomy.co/?permalink=3521 He took over from the specialists and operated the camera from the window of Leacock ndash Pennebaker s office on West Forty ndash fifth street shooting the band on the roof of the Schuyler Hotel across the street Pennebaker recalled him to be an amateurish cameraman who could not avoid the beginner s pitfall of frequent zooming in and out The performance took place without a permit at standard rock volume as singer Grace Slick later wrote We did it deciding that the cost of getting out of jail would be less than hiring a publicist via Open Culture 24 February 2012 Fig 1 Jean ndash Luc Godard filmed the band on a rooftop in Midtown Manhattan December 7 1968 http://folksonomy.co/?permalink=3521 Tue, 29 Oct 2013 08:46:38 +1000 New technical possibilities synchronous recording of sight and sound http://folksonomy.co/?permalink=2131 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 ndash 325 Fig 1 Albert right with David Maysles on the set of Grey Gardens 1975 http://folksonomy.co/?permalink=2131 Fri, 11 Mar 2011 19:54:05 +1000 The camera s relation to reality is addressed directly by the documentary filmmaker http://folksonomy.co/?permalink=2115 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 ndash 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 http://folksonomy.co/?permalink=2115 Thu, 03 Mar 2011 10:22:20 +1000 Jean Rouch on the Future of Visual Anthropology http://folksonomy.co/?permalink=2111 Jean Rouch and his views on what is real when it comes to the use of modern day camera s that don t work Godard called him the Jeanne d Arc of film http://folksonomy.co/?permalink=2111 Tue, 01 Mar 2011 14:04:28 +1000 Maysles Brothers Salesman 1968 http://folksonomy.co/?permalink=2103 A landmark American documentary Salesman captures in vivid detail the bygone era of the door ndash to ndash door salesman While laboring to sell a gold ndash embossed version of the Good Book Paul Brennan and his colleagues target the beleaguered masses ndash 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 ndash life Willy Loman walking the line from hype to despair mubi com http://folksonomy.co/?permalink=2103 Sat, 19 Feb 2011 00:31:03 +1000 Acknowledging the constructed nature of documentary production http://folksonomy.co/?permalink=491 Direct cinema 39 and 39 cinema verit eacute 39 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 verit eacute 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 39 s fidelity to the real once said that 39 we don 39 t cheat 39 Joanne Richardson Durham North Carolina Fig 2 Albert Maysles right shoots 1975 s Grey Gardens with his brother and longtime production partner David http://folksonomy.co/?permalink=491 Sat, 13 Aug 2005 19:54:19 +1000