American Cinematographer - October 1968 - 96
CINE VERITE'
Continued from Page 754
that was pure cinema verite-or, as
QUARTZ LIGHTS
this style is called in the U.S.,'"Direct
Cinema" or "Realistic Cinema." If you
haven't
seen
haps
read
made
reviews
about such
Molequartz light
families for all your
lighting needs. For
details about lights
and accessories write
Mole-Richardson Co.
937 No. Sycamore Ave.
Hollywood, CA., 90038,
films
using
the
cinema verite approach, you have per¬
D.
A.
who
Pennebaker
are
or
seen
men as Richard
said
counterparts
and
to
be
of
Robert
the
the
articles
Leacock,
Drew
New
York
cinema
Molequartz One-Light
Nooklite and
Three-Light Nooklite.
verite
school which developed in France in
the early '60's. Some of the films you
may have seen utilizing this approach
are
PRIMARY
by
Richard
Leacock,
THE CHILDREN ARE WATCHING, and
Molequartz Molepai^
and Molepar
with Intensifier.
CRISIS BEHIND A PRESIDENTIAL COM¬
MITMENT by Robert Drew.
Like
anything
new
involving
tech¬
nique, method or style in almost any
field, the advocates of cinema verite
didn't set out to
do something
new
and different. They set out to solve a
problem
critics
and
said,
when
"You
they finished
have
done
the
some¬
thing new and different in film-making
and the best label we can devise to
describe it is Cinema Verite-or Di¬
rect Cinema-or Realist Cinema."
Cinema verite is a cinematic method
of
getting
at the
honest truth
of a
Molequartz
Single-Molefay,
Two-Light Molefay
and Five-Light
M°|efay.
situation and, in turn, communicating
those
truths
believably
to
an
audi¬
ence. It is really a method-a way-
of working,
not something
that your
Ad Manager calls up and orders by
the pound saying "Say, Mac, give me
cinema verite."
Some critics consider it merely an
up-dating
of the standard
Documen¬
tary. But no matter what you call it, it
is still a method.
How do you do it?
The method
most
makes use of the al¬
unlimited
flexibility of the
new
16mm self-blimped cameras, the easily-portable, high-quality sound record¬
ing
equipment,
light-weight
the
lighting
high - intensity,
equipment
and
the new high-speed black and white
and color film stocks that are running
a close second in quality to the slower
emulsions we have been used to. The
flexibility and
freedom
these
improved
lights
and
film
permitted
cameras,
Moiequartz Molorama
Cyc-Strips.
by
recorders,
emulsions
naturally
gave rise to more sound shooting on
location and especially more first-hand
coverage of events as they happened.
The
cameraman
discovered
that
by
being able to be on the scene and
not be restricted
by heavy,
hard-to-
move equipment, he was able to pho-
788
AMERICAN CINEMATOGRAPHER, OCTOBER 1968
American Cinematographer - October 1968
Table of Contents for the Digital Edition of American Cinematographer - October 1968
American Cinematographer - October 1968 - 1
American Cinematographer - October 1968 - 2
American Cinematographer - October 1968 - 3
American Cinematographer - October 1968 - 4
American Cinematographer - October 1968 - 5
American Cinematographer - October 1968 - 6
American Cinematographer - October 1968 - 7
American Cinematographer - October 1968 - 8
American Cinematographer - October 1968 - 9
American Cinematographer - October 1968 - 10
American Cinematographer - October 1968 - 11
American Cinematographer - October 1968 - 12
American Cinematographer - October 1968 - 13
American Cinematographer - October 1968 - 14
American Cinematographer - October 1968 - 15
American Cinematographer - October 1968 - 16
American Cinematographer - October 1968 - 17
American Cinematographer - October 1968 - 18
American Cinematographer - October 1968 - 19
American Cinematographer - October 1968 - 20
American Cinematographer - October 1968 - 21
American Cinematographer - October 1968 - 22
American Cinematographer - October 1968 - 23
American Cinematographer - October 1968 - 24
American Cinematographer - October 1968 - 25
American Cinematographer - October 1968 - 26
American Cinematographer - October 1968 - 27
American Cinematographer - October 1968 - 28
American Cinematographer - October 1968 - 29
American Cinematographer - October 1968 - 30
American Cinematographer - October 1968 - 31
American Cinematographer - October 1968 - 32
American Cinematographer - October 1968 - 33
American Cinematographer - October 1968 - 34
American Cinematographer - October 1968 - 35
American Cinematographer - October 1968 - 36
American Cinematographer - October 1968 - 37
American Cinematographer - October 1968 - 38
American Cinematographer - October 1968 - 39
American Cinematographer - October 1968 - 40
American Cinematographer - October 1968 - 41
American Cinematographer - October 1968 - 42
American Cinematographer - October 1968 - 43
American Cinematographer - October 1968 - 44
American Cinematographer - October 1968 - 45
American Cinematographer - October 1968 - 46
American Cinematographer - October 1968 - 47
American Cinematographer - October 1968 - 48
American Cinematographer - October 1968 - 49
American Cinematographer - October 1968 - 50
American Cinematographer - October 1968 - 51
American Cinematographer - October 1968 - 52
American Cinematographer - October 1968 - 53
American Cinematographer - October 1968 - 54
American Cinematographer - October 1968 - 55
American Cinematographer - October 1968 - 56
American Cinematographer - October 1968 - 57
American Cinematographer - October 1968 - 58
American Cinematographer - October 1968 - 59
American Cinematographer - October 1968 - 60
American Cinematographer - October 1968 - 61
American Cinematographer - October 1968 - 62
American Cinematographer - October 1968 - 63
American Cinematographer - October 1968 - 64
American Cinematographer - October 1968 - 65
American Cinematographer - October 1968 - 66
American Cinematographer - October 1968 - 67
American Cinematographer - October 1968 - 68
American Cinematographer - October 1968 - 69
American Cinematographer - October 1968 - 70
American Cinematographer - October 1968 - 71
American Cinematographer - October 1968 - 72
American Cinematographer - October 1968 - 73
American Cinematographer - October 1968 - 74
American Cinematographer - October 1968 - 75
American Cinematographer - October 1968 - 76
American Cinematographer - October 1968 - 77
American Cinematographer - October 1968 - 78
American Cinematographer - October 1968 - 79
American Cinematographer - October 1968 - 80
American Cinematographer - October 1968 - 81
American Cinematographer - October 1968 - 82
American Cinematographer - October 1968 - 83
American Cinematographer - October 1968 - 84
American Cinematographer - October 1968 - 85
American Cinematographer - October 1968 - 86
American Cinematographer - October 1968 - 87
American Cinematographer - October 1968 - 88
American Cinematographer - October 1968 - 89
American Cinematographer - October 1968 - 90
American Cinematographer - October 1968 - 91
American Cinematographer - October 1968 - 92
American Cinematographer - October 1968 - 93
American Cinematographer - October 1968 - 94
American Cinematographer - October 1968 - 95
American Cinematographer - October 1968 - 96
American Cinematographer - October 1968 - 97
American Cinematographer - October 1968 - 98
American Cinematographer - October 1968 - 99
American Cinematographer - October 1968 - 100
American Cinematographer - October 1968 - 101
American Cinematographer - October 1968 - 102
American Cinematographer - October 1968 - 103
American Cinematographer - October 1968 - 104
American Cinematographer - October 1968 - 105
American Cinematographer - October 1968 - 106
American Cinematographer - October 1968 - 107
American Cinematographer - October 1968 - 108
American Cinematographer - October 1968 - 109
American Cinematographer - October 1968 - 110
American Cinematographer - October 1968 - 111
American Cinematographer - October 1968 - 112
American Cinematographer - October 1968 - 113
American Cinematographer - October 1968 - 114
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