cinéma vérité

(redirected from cinema verite)
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cinéma vérité,

a style of filmmaking that attempts to convey candid realism. Often employing lightweight, hand-held cameras and sound equipment, it shows people in everyday situations and uses authentic dialogue, naturalness of action, and a minimum of rearrangement for the camera. The style was pioneered in the late 1950s and early 60s by such French documentary filmmakers as Jean Rouch and Chris Marker and has been influential in the work of a number of directors, most notably Jean-Luc GodardGodard, Jean-Luc
, 1930–, French film director and scriptwriter, b. Paris. He wrote criticism for a number of Parisian cinema journals in the early 1950s before embarking on his filmmaking career. Godard is probably the most influential of the French New Wave directors.
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. American filmmakers, who sometimes called the style "direct cinema," were quick to adopt and refine the technique. Included among them are Robert DrewDrew, Robert Lincoln,
1924–2014, American documentary filmmaker, b. Toledo, Ohio. After serving in the U.S. Army Air Forces during World War II, he worked for Life as a writer and editor.
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, Richard LeacockLeacock, Richard,
1921–2011, Anglo-American filmmaker, b. London. A key figure in the development of cinéma vérité, he also helped create the camera and sound equipment that made the style possible.
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, D. A. Pennebaker, Albert and David Maysles (all of whom also helped to develop portable cameras and synchronous sound equipment), and Frederick WisemanWiseman, Frederick,
1930–, American documentary filmmaker, b. Boston, grad. Williams College (B.A., 1951), Yale Law School (LL.B., 1954). Wiseman practiced and taught law for about a decade, but his real interests lay elsewhere.
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. More recently, such documentary makers as Ken (and Ric) BurnsBurns, Ken
(Kenneth Lauren Burns), 1953–, American documentary filmmaker, b. Brooklyn, N.Y., grad. Hampshire College (1975). Acting as producer, director, and cinematographer, Burns typically explores themes from American history, blending period photographs, artworks,
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 and Barbara Kopple have made cinéma vérité techniques central to their films.


See studies by M. A. Issari (1971 and 1979) and S. Mamber (1974); Cinéma Vérité: Defining the Moment (film, 1999).

References in periodicals archive ?
We developed a plan with the Cinema Verite organizers to continue our cultural exchange through an archaeological film event at the National Museum of Iran in January 2017.
Frederick Wiseman, the award-winning documentary maker, would call cinema verite ''just a pompous French term that has absolutely no meaning.
He has asked [for permission] to travel to Iran, and we are trying to invite him to the Cinema Verite," Shamaqdari said then.
Departing from the rigid tenets of cinema verite, the producer manipulated the casting and editing to paint as negative a picture of Vietnam-era America as was possible.
In the introduction to Cinema Verite in America, Mamber writes, "At its very simplest, cinema verite might be defined as a filming method employing hand-held cameras and live, synchronous sound.
It is the opening day of Cinema Verite, the Iran International Documentary Film Festival, and the Islamic Republic's national side has just scored a goal in its World Cup qualifying match against Italy.
A reviewer of David Holzman's Diary once predicted that McBride's film would be "revered" by film scholars of the 1990s as "the underground autobiographical cinema verite film of the Sixties," a status that may be overstated but is not altogether inaccurate, given the awards the film has won, including being selected in 1991 by the Library of Congress for the National Film Registry, as well as its near canonical status in college courses on documentary and experimental film.
Described as a "quasi-fictional, quasi-documentary research project," After Before nods explicitly to 1960s cinema verite, particularly in its emphasis on the interpersonal and the political.
Writer-director Paul Greenglass uses stunning cinema verite camerawork and precise, heart-pounding editing to simultaneously produce the nightmarish feeling of being locked within this unfolding disaster and, by intercutting to the command centre of the British Army, to provide an outside point of analysis, of cold calculations masking Imperial arrogance.
James Longley's Gaza Strip is powerful cinema verite that documents the lives of ordinary Palestinians under Israeli occupation.
Three of Peter Wintonick's documentaries were shown: Manufacturing Consent: Noam Chomsky and the Media (1992); Cinema Verite Defining the Moment (1999); and Seeing Is Believing, a work in progress currently running 55 minutes.