FIVECHAPTERCINEMA VERITE
CHAPTER FIVE CINÉMA VÉRITÉ
CINEMAVERITEFRENCHFILMMOVEMENTOFTHE1960STHATSHOWEDPEOPLEINEVERYDAYSITUATIONSWTHAUTHENTICDIALOGUEANDNATURALNESSOFACTIONLITERALLYMEANS“FILMTRUTH"THETERMTRANSLATINGDZIGAVERTOV'SKINOPRAVDA（电影真理报）INTOFRENCHTHETRUTH"REFERSTOTHETRUTHOFTHEENCOUNTERRATHERTHANSOMEABSOLUTETRUTH.THEINNOVATIONANDEVOLUTIONOFTHECINEMATICHARDWARELIGHTWEIGHTCAMERASANDSOUNDRECORDERS
CINÉMA VÉRITÉ ⚫ FRENCH FILM MOVEMENT OF THE 1960S — THAT SHOWED PEOPLE IN EVERYDAY SITUATIONS WITH AUTHENTIC DIALOGUE AND NATURALNESS OF ACTION. ⚫ LITERALLY MEANS “FILM TRUTH“ — THE TERM, TRANSLATING DZIGA VERTOV’S KINOPRAVDA （电影真理报） INTO FRENCH — THE “TRUTH” REFERS TO THE TRUTH OF THE ENCOUNTER RATHER THAN SOME ABSOLUTE TRUTH. ⚫ THE INNOVATION AND EVOLUTION OF THE CINEMATIC HARDWARE — LIGHTWEIGHT CAMERAS AND SOUND RECORDERS
FILMASCATALYST-THEDOCUMENTARISTASANAVOWEDPARTICIPANTWHOTRIESTOPRECIPITATEACRISISBRINGINGHIDDENTRUTHTOTHESURFACEPARTICIPATORYDOCUMENTARIESBELIEVETHATITISIMPOSSIBLEFORTHEACTOFFILMMAKINGTONOTINFLUENCEORALTERTHEEVENTSBEINGFILMED.WHATTHESEFILMSDOISEMULATETHEAPPROACHOFTHEANTHROPOLOGIST:PARTICIPANTOBSERVATION.ITALLOWSFILMMAKERTOACCOUNTFORPASTEVENTSVIAWITNESSESANDEXPERTSWHOMVIEWERCANALSOSEE
⚫ FILM AS CATALYST — THE DOCUMENTARIST AS AN AVOWED PARTICIPANT WHO TRIES TO PRECIPITATE A CRISIS — BRINGING HIDDEN TRUTH TO THE SURFACE. PARTICIPATORYDOCUMENTARIES BELIEVE THAT IT IS IMPOSSIBLE FOR THE ACT OF FILMMAKING TONOT INFLUENCE OR ALTER THE EVENTS BEING FILMED. WHAT THESE FILMS DO IS EMULATE THE APPROACH OF THE ANTHROPOLOGIST: PARTICIPANTOBSERVATION. IT ALLOWS FILMMAKER TO ACCOUNT FOR PAST EVENTS VIA WITNESSES AND EXPERTS WHOM VIEWER CAN ALSO SEE
LasorlerontCecheerseadsPRIX LOUIS DELLUL1958rPstEameOmLEEmordxt1O0snhilJEAN ROUCNCHRONTQUE D UN ETERonch atzdgar MoranTaanI,aNegro(JeanRouch1958)EChronicleofaSummer(JeanRouch&EdgarMorin,1960)JeanRouch（1917-2004）
Chronicle of a Summer (Jean Rouch & Edgar Morin, 1960) Jean Rouch （1917-2004） I, a Negro (Jean Rouch ,1958 )
THECHARACTERISTICSOFPARTICIPATORY/INTERACTIVEMODETHEACKNOWLEDGEDPRESENCEOFTHECAMERAANDCREWEMPHASISONTHEINTERACTIONBETWEENFILMMAKERANDSUBJECTHEAVILYRELYINGONINTERVIEWSTOREVEALTHESUBJECTIVETRUTHANEMPHASISONMONOLOGUESANDDIALOGUESREPRESENTATIONOFMULTIPLEVIEWPOINTSEDITINGMAINTAINSLOGICALCONTINUITYNODEFINITIVEARGUMENT,LEAVINGTHEAUDIENCETODECIDE
THE CHARACTERISTICS OF PARTICIPATORY /INTERACTIVE MODE THE ACKNOWLEDGED PRESENCE OF THE CAMERA AND CREW EMPHASIS ON THE INTERACTION BETWEEN FILMMAKER AND SUBJECT HEAVILY RELYING ON INTERVIEWS TO REVEAL THE SUBJECTIVE TRUTH AN EMPHASIS ON MONOLOGUES AND DIALOGUES REPRESENTATION OF MULTIPLE VIEWPOINTS EDITING MAINTAINS LOGICAL CONTINUITY NO DEFINITIVE ARGUMENT, LEAVING THE AUDIENCE TO DECIDE