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Cinéma vérité (; , ''truthful cinema'') is a style of documentary filmmaking, invented by Jean Rouch, inspired by Dziga Vertov's theory about Kino-Pravda and influenced by Robert Flaherty’s films. It combines improvisation with the use of the camera to unveil truth or highlight subjects hidden behind crude reality.〔(Glossary of rouchinan terms ) at (MAITRES FOUS net )〕〔 (Ricky Leacock and “The Sense of Being There” ) – Article by Stephen Altobello at IMN〕〔(Camera that Changed the World ) – Article at BBC〕〔(Jean Rouch, Edgar Morin-Chronique d'un été (1961) ) – Article at (Avaxhome )〕 It is sometimes called ''observational cinema'',〔(Direct Cinema ) at (Karamumedia12 )〕〔(Observational documentary ) at (Film Reference )〕 if understood as pure direct cinema: mainly without a narrator's voice-over. There are subtle, yet important, differences among terms expressing similar concepts. Direct Cinema is largely concerned with the recording of events in which the subject and audience become unaware of the camera's presence: operating within what Bill Nichols,〔Nichols, Bill. ''Introducing the Documentary''. Indiana University Press, 2001, p. 109〕 an American historian and theoretician of documentary film, calls the "observational mode", a fly on the wall. Many therefore see a paradox in drawing attention away from the presence of the camera and simultaneously interfering in the reality it registers when attempting to discover a cinematic truth. Cinéma vérité can involve stylized set-ups and the interaction between the filmmaker and the subject, even to the point of provocation. Some argue that the obvious presence of the filmmaker and camera was seen by most cinéma vérité filmmakers as the best way to reveal the truth in cinema.〔(Jean Rouch: Cinéma-vérité, Chronicle of a Summer and The Human Pyramid ) – Article by Barbara Bruni at Senses of Cinema, March 13, 2002〕〔DIRECT CINEMA: Filmmaking Style and its relationship to “Truth” – Thesis by Bernice K. Shneider, B.A., Art History University of Massachusetts, MIT (1972)〕〔(Jean Rouch – The Film-maker as Provocateur ) – Article at Microwave〕 The camera is always acknowledged, for it performs the raw act of filming real objects, people, and events in a confrontational way. The filmmaker's intention was to represent the truth in what he or she was seeing as objectively as possible, freeing people from any deceptions in how those aspects of life were formerly presented to them. From this perspective, the filmmaker should be the catalyst of a situation. Few agree on the meanings of these terms, even the filmmakers whose films are being described. Pierre Perrault sets situations up and then films them, for example in ''Pour la suite du monde'' (1963) where he asked old people to fish for whale. The result is not a documentary about whale fishing; it is about memory and lineage. In this sense cinéma vérité is concerned with anthropological cinema, and with the social and political implications of what is captured on film. How a filmmaker shoots a film, what is being filmed, what to do with what was filmed, and how that film will be presented to an audience, all were very important for filmmakers of the time. In all cases, the ethical and aesthetic analysis of documentary form of the 1950s and '60s has to be linked with a critical look at post-war propaganda analysis. The best way to describe this type of cinema is probably to say that it is concerned with notions of truth and reality in film. Also feminist documentary films of the 1970s often used cinéma-vérité techniques. Soon this sort of 'realism' was criticized for its deceptive pseudo-natural construction of reality.〔(A feminist critique of documentary film ) – Paper at (Serendip Studio )〕〔(By, For, and About: The “Real” Problem in the Feminist Film Movement ) – Paper by Shilyh Warren at Mediascape, (UCLA )〕 As Edgar Morin wrote: "There are two ways to conceive of the cinema of the Real: the first is to pretend that you can present reality to be seen; the second is to pose the problem of reality. In the same way, there were two ways to conceive cinéma vérité. The first was to pretend that you brought truth. The second was to pose the problem of truth."〔"Il y a deux façons de concevoir le cinéma du réel : la première est de prétendre donner à voir le réel; la seconde est de se poser le problème du réel. De même, il y avait deux façons de concevoir le cinéma vérité. La première était de prétendre apporter la vérité. La seconde était de se poser le problème de la vérité." ((Cinéma et vérité, 1980 ))〕 == Filmmakers associated with the style == ;Pioneers: * Michel Brault * Robert Drew * Robert Flaherty * Richard Leacock * D. A. Pennebaker * Pierre Perrault * Lionel Rogosin * Jean Rouch * Dziga Vertov ;Others: * Jon Alpert * Joe Berlinger and Bruce Sinofsky (Creative Thinking International) * David Bradbury * Nick Broomfield * Linda Goode Bryant * John Cassavetes * Pedro Costa * Ricardo Costa * Kirby Dick * Tamara Goldsworthy * Amos Gitai * Paul Greengrass * Gilles Groulx * Kazuo Hara * Florence Jaugey * Claude Jutra * Allan King * Louis King * Abbas Kiarostami * Barbara Kopple * Harmony Korine * Roman Kroitor * Barbara Loden * Louis Malle * Chris Marker * John Marshall * Pau Masó * The Maysles Brothers (Albert and David Maysles) * Jehane Noujaim * David Perlov * Joseph Garcia Quinn〔(Joseph Garcia Quinn ) at IMDb〕 * Ulrich Seidl * Kaneto Shindo * Ellen Spiro * Bela Tarr * Frederick Wiseman 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Cinéma vérité」の詳細全文を読む スポンサード リンク
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