This essay will treat the “Cinema verite” and its development until today. As the development in Europe and in the USA had been similar, I will choice to describe the German development and emphasis an example from the 60’s and two from today. The movie from the 60’s is the German documentary “Warum ist Frau B. glücklich?” by Erika Runge, made in 1968, the actual examples are: “Der 3. Weltkrieg” by Robert Stone, made in 1998, and “Napoleon” by David Grubin, made in 2003. The stretch will lie on the first movie. It is a perfect example for the “cinema vérité”. I will give you a short overview about the movies, explain the term authenticity and give a conclusion. And during the essay you will see differences and similarities between a motion picture and a documentary movie. You will see that today documentaries could better be called infotainment and the documentaries during the 60’s could better be called portrait. While the innovation in the late 60’s was, to show the normal life (before documentaries dealt with famous persons/situations), today normal and special events are shown in a mix of movie and documentary.
Table of Contents
- Introduction
- Reforms of the German “Cinema vérité” in the 60's
- Examples
- Warum ist Frau B. glücklich?
- Der dritte Weltkrieg
- Napoleon
- The Term Authenticity
- Conclusion
Objectives and Key Themes
This essay aims to explore the legacy of Cinema vérité in documentary filmmaking, tracing its evolution from the 1960s to the present day. The essay focuses on the German development of the style, using examples from both eras to illustrate the changes. It examines the concept of authenticity within documentaries and considers the shift from portraiture to infotainment in contemporary documentaries.
- The evolution of Cinema vérité from the 1960s to the present.
- The comparison of German and US developments in Cinema vérité.
- The definition and application of “authenticity” in documentary filmmaking.
- The shift in documentary filmmaking from portraiture to infotainment.
- The differences and similarities between motion pictures and documentaries.
Chapter Summaries
Introduction: This essay analyzes the development of Cinema vérité from its origins to contemporary examples, focusing on the German context. It introduces three key films: the 1968 German documentary "Warum ist Frau B. glücklich?" by Erika Runge (a prime example of Cinema vérité), "Der 3. Weltkrieg" by Robert Stone (1998), and "Napoleon" by David Grubin (2003). The essay will examine the films, discuss the concept of authenticity in documentaries, and draw conclusions about the evolution of the genre, highlighting the shift from simple portraits of ordinary individuals to the more complex, often infotainment-focused documentaries of the late 20th and early 21st centuries.
Reforms of the German “Cinema vérité” in the 60's: This section explores the shift in German documentary filmmaking during the 1960s. Initially, documentaries focused primarily on prominent figures. However, by the mid-1960s, a new wave emerged, profiling ordinary individuals. This biographical approach, rooted in proletarian traditions and influenced by US experimentation, sought to bridge the private sphere and social reality. The aim was to move beyond the traditional "lecture" style of filmmaking, creating a more innovative and engaging form of documentary that showcased everyday life.
Keywords
Cinema vérité, documentary filmmaking, authenticity, German cinema, Erika Runge, "Warum ist Frau B. glücklich?", infotainment, portraiture, Robert Stone, David Grubin, "Der 3. Weltkrieg", "Napoleon".
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This document provides a comprehensive preview of a language resource, including the table of contents, objectives and key themes, chapter summaries, and keywords. It is designed for academic use, facilitating analysis of themes within the resource.
What topics are covered in this language resource?
The resource focuses on the evolution of Cinema vérité in documentary filmmaking, particularly within the German context. Key themes include the concept of authenticity in documentaries, the shift from portraiture to infotainment, and a comparison of German and US developments in the genre.
What are the key themes explored?
The key themes explored are the evolution of Cinema vérité from the 1960s to the present, the comparison of German and US developments, the definition and application of “authenticity” in documentary filmmaking, the shift from portraiture to infotainment in documentary filmmaking, and the differences and similarities between motion pictures and documentaries.
What are the main chapters or sections?
The main sections include an Introduction, a section on the reforms of German Cinema vérité in the 1960s, examples of relevant films (Warum ist Frau B. glücklich?, Der dritte Weltkrieg, Napoleon), a section on the term Authenticity, and a Conclusion.
Which films are discussed as examples?
The document uses three films as key examples: "Warum ist Frau B. glücklich?" (1968) by Erika Runge, "Der 3. Weltkrieg" (1998) by Robert Stone, and "Napoleon" (2003) by David Grubin.
What is the time period covered?
The resource covers the evolution of Cinema vérité from the 1960s to the present day, analyzing changes and shifts in the genre over time.
What is the focus regarding German Cinema vérité?
The focus is on the development and evolution of German Cinema vérité, comparing and contrasting it with developments in the US and highlighting the shift from portraying prominent figures to focusing on ordinary individuals.
What is the significance of the term "Authenticity"?
The document explores the meaning and application of "authenticity" within documentary filmmaking, considering how this concept has evolved and been interpreted throughout the history of the genre.
What is the significance of the shift from portraiture to infotainment?
This shift represents a key change in documentary filmmaking, moving away from simple biographical portraits towards a more complex and often entertainment-focused approach.
What are the key words associated with this resource?
Key words include Cinema vérité, documentary filmmaking, authenticity, German cinema, Erika Runge, "Warum ist Frau B. glücklich?", infotainment, portraiture, Robert Stone, David Grubin, "Der 3. Weltkrieg", and "Napoleon".
- Quote paper
- Sebastian Geipel (Author), 2003, Where is the legacy of the cinema verite moment of documentary filmmaking to found now. Your response must make detailed reference to at least two film or tv examples, Munich, GRIN Verlag, https://www.grin.com/document/22225
