5.

Observation
Observational documentary and Cinema Verité
Intro: The technical revolution.
16mm
Intro: The technical revolution.
16mm

1923
—
16mm was introduced as a cheap alternative to 35mm with a ‘safety film’
base, made out of acetate.

1930s
—
Audio was able to be captured in the 16mm cameras through an optical
sound band in the film itself.

1950s
—
16mm format was widely used during World War II so there was a great
expansion of film companies during the postwar years. Government, business,
medical and industrial films created an extensive network of 16mm film
professionals and related service industries in the 1950s and 1960s.
Intro: The technical revolution.
Intro: The technical revolution.
A new way of documenting reality

Kartemquin Films
A new way of documenting reality

DIRECT
CINEM
A (USA
)

E M A (UK)
I N
FREE C

CINÉMA
VÉRITÉ
(FRANC
E)
 Cinéma Vérité

Jean Rouch & Edgar Morin, France.

The presence of filmmakers and the process is in the story.

They are approaching reality from a sociological perspective.

Does it really get close to ‘objectivity’?

Chronicle of a Summer (Jean Rouch & Edgar Morin, 1960)

What are the main characteristics of ‘Cinéma Vérité’?
Bill Nichols: ‘Introduction to Documentary’

‘Observational mode: emphasizes

a direct engagement with the
everyday life of subjects as observed
by an unobtrusive camera.’
Bill Nichols: ‘Introduction to Documentary’
Bill Nichols: ‘Introduction to Documentary’

● An Alternative To: Classic oration and poetic expression

Bill Nichols: ‘Introduction to Documentary’

● An Alternative To: Classic oration and poetic expression

● Limited By: What occurs in front of the camera (hard to represent

historical events)
Bill Nichols: ‘Introduction to Documentary’

● An Alternative To: Classic oration and poetic expression

● Limited By: What occurs in front of the camera (hard to represent

historical events)

● Treats Knowledge As: Tacit sense of what we learn by watching,

listening, observing, and making inferences about the conduct of others.
Bill Nichols: ‘Introduction to Documentary’

● An Alternative To: Classic oration and poetic expression

● Limited By: What occurs in front of the camera (hard to represent

historical events)

● Treats Knowledge As: Tacit sense of what we learn by watching,

listening, observing, and making inferences about the conduct of others.

● Sound: Tied to the image by the indexical link of synchronous recording.

Filmmaker gives up full control of sound to record what is said and heard
in a given situation; refrains from voice over.
Bill Nichols: ‘Introduction to Documentary’

● An Alternative To: Classic oration and poetic expression

● Limited By: What occurs in front of the camera (hard to represent

historical events)

● Treats Knowledge As: Tacit sense of what we learn by watching,

listening, observing, and making inferences about the conduct of others.

● Sound: Tied to the image by the indexical link of synchronous recording.

Filmmaker gives up full control of sound to record what is said and heard
in a given situation; refrains from voice over.

● Space: Continuous. Strong sense of continuity that links the words and
actions of subjects from shot to shot.
Bill Nichols: ‘Introduction to Documentary’

● An Alternative To: Classic oration and poetic expression

● Limited By: What occurs in front of the camera (hard to represent

historical events)

● Treats Knowledge As: Tacit sense of what we learn by watching,

listening, observing, and making inferences about the conduct of others.

● Sound: Tied to the image by the indexical link of synchronous recording.

Filmmaker gives up full control of sound to record what is said and heard
in a given situation; refrains from voice over.

● Space: Continuous. Strong sense of continuity that links the words and
actions of subjects from shot to shot.

● Concerns: Passive observation of dangerous, harmful or illegal activity

can lead to serious difficulties for subjects. Questions of responsibility
toward subjects can become acute.
Bill Nichols: ‘Introduction to Documentary’

● An Alternative To: Classic oration and poetic expression

● Limited By: What occurs in front of the camera (hard to represent

historical events)

● Treats Knowledge As: Tacit sense of what we learn by watching,

listening, observing, and making inferences about the conduct of others.

● Sound: Tied to the image by the indexical link of synchronous recording.

Filmmaker gives up full control of sound to record what is said and heard
in a given situation; refrains from voice over.

● Space: Continuous. Strong sense of continuity that links the words and
actions of subjects from shot to shot.

● Concerns: Passive observation of dangerous, harmful or illegal activity

can lead to serious difficulties for subjects. Questions of responsibility
toward subjects can become acute.

● A voice characterized by: Patience, modesty, self-effacing.

Willingness to let audience decide for itself about what it sees and hears.
Bill Nichols: ‘Introduction to Documentary’

How do you think these characteristics contrast

with the ones in the Cinéma Vérité style?
Don’t Look Back (D.A. Pennebaker, 1967)
Grey Gardens (Ellen Hovde, Albert Maysles, David
Maysles, Muffie Meyer, 1975)
These films are important because…

N. 9 Sight and Sound Poll N. 10 Sight and Sound Poll

… they take advantage of technical innovation to create an intimate, natural, close
sphere, and they give the illusion of objectivity. A fly on the wall.

N. 9 Sight and Sound Poll N. 10 Sight and Sound Poll

Modern day examples of observational documentaries:

How do you think this style of documentary has evolved?

Can you name some examples of contemporary

observational documentaries?
Modern day examples of observational documentaries:

Quest (Jonathan Olshefski, 2017)

Modern day examples of observational documentaries:

American Factory (Steven Bognar, Julia Reichert, 2019)

Innovation. Subversion of this idea…
Innovation. Subversion of this idea…

How do you think The Kardashians relate to

the observational mode of documentaries?
Assignment 5: The market

Create a 5 min observational documentary in

the food market at Calle Feria.

1st: INMERSION

- Stay and observe the place before filming.

- Decide your topic.
- Decide the characters of your story.
Assignment 5: The market

Create a 5 min observational documentary in

the food market at Calle Feria.

2nd: SHOOTING

- Camera in hand, long takes, focusing, looking for a

perspective while filming.
- Record a WILDTRACK, the sound ambience. / “room tone”
- Use a variety of shots.
Assignment 5: The market

Create a 5 min observational documentary in

the food market at Calle Feria.

3rd: EDITING

- No effects added.
- Use the wildtrack.
- Clean cuts. No fading, no transitions.
- Little or no voice over.
- No music!!!
Assignment 5: The market

Prepare a class presentation of your work in class

following the next questions:

- How was your experience?

- What is the topic that you've chosen and why?
- How was the editing process?
- What has been left behind?
- What have you learned from the observational mode of
documentary filmmaking in relation to future projects?
Assignment 5: The market RUBRIC