Cinéma vérité

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   1. <skos:prefLabel xml:lang="en">cinéma vérité</skos:prefLabel>

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   3. <skos:note xml:lang="en">Stylistic movement in the documentary style of filmmaking literally meaning "camera truth," the name was taken from the title of a Soviet newsreel, which was the filmed edition of the newspaper Pravda. Initially, there were no sets, actors, or scripts and in many ways it is considered a type of documentary filmmaking. French ethnographic documentarist Jean Roche followed this formula stridently, but later in the 1960s, Roche and his followers did intervene and put their films through an editing process. The term cinéma vérité has been used to describe the movement as well as the technique of using a hand held camera, jerky camera, movements, flat lighting, and less than perfect exposures, all in attempt to create a real an life like narrative. Employing these techniques became a growing trend among French New Wave filmmakers and Americans such as Jon Cassavetes. One of the most significant work of cinéma vérité is Marcel Ophül's "The Sorrow and The Pity (1970), an unflinching view of the French occupation during World War II.</skos:note>

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