#Maysles Cinema

[davidhudson]

Albert Maysles, November 26, 1926 - March 5, 2015.

Aiming the camera while David Maysles looks on.

[oldshowbiz]

The Maysles Brothers, Albert and David, were the cinema verite filmmakers responsible for Salesman, Primary, Grey Gardens, and many other important documentaries. 

At one point they were going to be responsible for a cooking show(!) starring the famous chef James Beard.

[thebrownees]

Grey Gardens (1975) A+ to Feud (2024) A+. The Maysles Brothers.

I need profesional music! Big Edie Bouvier in “Grey Gardens” The film “Grey Gardens” tells the story of Big Edie and Little Edie Bouvier, the aunt and cousin of former First Lady Jacqueline Bouvier Kennedy Onassis. When the brothers Albert and David Maysles discovered them in the early seventies, Big Edie, who was almost eighty at the time, and Little Edie, who was 56, appeared to be stuck in…

[nomallmovieschicago]

3 October 2023

Film: SALESMAN (d. Albert & David Maysles and Charlotte Zwerin, 1969, USA)

Forum: Doc Films   Format: DCP

Observations: First trip to Doc since July. Maybe 30 in the audience total for this show, a direct-cinema landmark that follows the lives of Bible salesmen travelling door-to-door (in Boston and Florida). It's a window into the lives of the would-be customers (mostly low-income ... many exhibit excellent sales-resistance skills, but some get snared) and also into the difficult lives that these men lead on the road, struggling to score one more sale to stay on their boss's good side.

[leebird-simmer]

Intro to Film Studies, Ch. 9: Documentaries

1. How do we recognize and define documentary as a distinct form?

2. What types of documentary are there, and how do they overlap and interact with each other?

3. What relationship does documentary have with fiction, drama and reconstruction?

4. In what ways does the notion of performance problematize documentary as a form?

What is a documentary?

subgenre of non-fiction

makes observations about the real historical world, rather than fabricated fictional worlds

yet these boundaries are fluid. As we will see, several documentaries have re-enactments or even fictional narratives.

One of the earliest and most famous definitions is by John Grierson “a creative treatment of actuality.”

If we recall, ‘actuality’ was the term we used in relation to the early films like Lumiere’s Workers Leaving the Factory.

Actuality: derived from the French term actualite given to the short non-fictional films made in the early period (1895-1906 or so). These films often consisted simply of people going about their everyday business, or of particular events (sporting contests, visiting dignitaries).

associated with novelty, cinema of attractions

can be considered proto-documentaries

the technology was the star

accompanied by music, introductions, voiceovers, etc.

Educational/Informative

- not just “capturing truth,” but a filmmaker’s shaping of “reality” of that subject material

- Grierson states that the difference between recorded material and what we might call a documentary is “a method which describes only the surface values of a subject, vs. a method which more explosively reveals the reality of it.”

Bill Nichols’ six modes of documentary:

1. Poetic (mood or tone of a subject)

  Ex. Berlin: Symphony of a Great City (1927), Koyaanisqatsi (1982)

2. Expository (designed to persuade)

  Ex. An Inconvenient Truth (2006)

3. Participatory (filmmaker actively engages with the subject)

  Ex. Michael Moore’s documentaries

4. Observational (appearance of neutrality/detachment)

  - shows a desire to preserve some way of life

  - Flaherty did fabricate events; questions of ethics are very important.

  Ex. Nanook of the North (1922)

5. Reflexive (commenting on the documentary itself)

  - encourages the viewer to think about the representation

  - Ex. The Thin Blue Line (1988)

6. Performative (filmmaker & subject are actively performing and co-creating the documentary)

  - Ex. Grey Gardens (1975)

* These categories are flexible and may blend into each other. Different modes can be dominant in different scenes.

Post-war developments in documentary film

less confrontational, more observational

longer shots, lighter handheld cameras

development of Direct Cinema

French filmmakers moved in the opposite direction, towards cinema verité, in which the filmmaker has interacts with the subjects openly and doesn’t try to hide their involvement.

Direct cinema: A type of documentary filmmaking that emerged in the US in the 1950s, associated with Robert Drew, Richard Leacock, Don Pennebaker, Frederick Wiseman, and the Maysles Brothers. Direct Cinema films often have a ‘fly on the wall’ aesthetic, linked to the strong belief that the filmmakers were mere observers of the reality they were filming. This apparent detachment and neutrality has been as controversial as it is influential.

Cinema verité: The French term (literally meaning ‘cinema truth’) is sometimes confused with a US kind of filmmaking which is actually closer to direct cinema. The confusion stems from the common ‘immediacy’ that the films have – filming people with handheld cameras and portable sound recording equipment – but cinema verité properly has a foundation of interaction between filmmaker and filmed, rather than the detachment seen in direct cinema films.

Reality TV: a relatively recent development in television, a form of highly structured program using observational material of ordinary people. The programs have a ‘documentary’ basis in the sense that they use actuality footage, but they are often shaped to fit specific formats (game shows, dating shows, before/after, etc.). In this respect, reality TV is a good example of how documentary can be taken and recontextualized by contemporary television to suit its schedules.

Rhetorical: Designed to persuade. Rhetorical strategies in documentary are those that relate to the film’s or program’s argument. This may be explicit (e.g. a voiceover or presenter actually stating what the argued points are), or it may be less immediately obvious (e.g. a filmmaker might cut from an image of a political leader to a shot of a firing squad; this could be seen as an argument against the politician).

Topicals: The name given to nonfictional ‘news’ items in the early period. A royal visit, the opening of a factory, a sports event – anything that could be of interest to a local audience – could be labelled ‘a topical’. As documentary developed as a form, topicals were subsumed into newsreels and other forms of film reporting.

Participant observation: A social science methodology where researchers immerse themselves in the social context/group they are studying, often for years at a time. In documentary terms, such an approach arguably leads to more ‘natural’ responses, as the subjects have become used to the filmmakers and cameras.

Ethics: concerning morality, or codes of conduct. There is a strong ethical discourse running through the history of documentary, and debates to be had about the ethical dimension of things like reconstruction, filming people without their consent, informing the viewer of the extent of filmmaker intervention, and so on.

[qu-film-history-to-1968]

WWII Impacted Cinema Greatly, Here's Why

Julia Merolle

     World War II was one of the most impactful events to ever happen in history. Lots of films were inspired by the events of WWII and because this was such an impactful war, films are still being made about it today. A few different genres come to mind when thinking about post-World War II, but the most important ones are probably Italian neorealism and documentary. Technological advances like technicolor and widescreen films were also really prominent right after World War II, which isn’t a genre but something that became more common after the war when people had time to do things other than worry about the fate of the world.

     A popular film that is probably the face of Italian neorealism is Bicycle Thieves (1948) directed by Vittorio De Sica. This film was made after World War II and set in Italy post-World War II. It primarily focuses on the socioeconomic gap in society and how people survived financially after the war, especially in Italy. Bicycle Thieves was filmed on location, had untrained actors, and is still considered one of the defining films of Italian neorealism and focuses on reality rather than entertainment for the audience. A quote I found interesting about Bicycle Thieves states, “The Bicycle Thief (1948) - will raise numerous interesting critical questions about the stereotypical vision of Italian neorealism that has all too often been enshrined in our textbooks. Consider the following statement: We should make films that are extremely simple and spare in staging without using artificial sets - films that are shot as much as possible from reality. In fact, realism is precisely what is lacking in our films. It is necessary to go right out into the street, to take the movie camera into the streets, the courtyards, the barracks, and the train stations. To make a natural and logical Italian film, it would be enough to go out in the street, to stop anywhere at all and observe what happens during a half hour with attentive eyes and with no preconceptions about style.” (page 52). This shows how realism was really important, especially since it was technically a “slice of life film” since it didn’t use any sets or real actors. It truly showed how people were living, especially right after the war.

     Another important film that shows a great example of technicolor and widescreen advances in cinema is That Touch of Mink (1962) directed by Delbert Mann. This film was made after World War II in the 1960s and was also set in the 1960s. That Touch of Mink focuses on the relationship between a wealthy businessman who is only interested in a fling, and a woman looking for a job holding out for marriage. This film was in technicolor and widescreen which was just to get other films to start using this technology. Another important note about this film is that it is more of a romantic comedy, which is what studios wanted to stray from because these films were positive compared to films about the war that occurred. A quote that stood out to me about the technology during this era states, “WIDESCREEN IS JUST COMMON SENSE. IT’S HOW WE SEE THE WORLD. OUR EYES sit side by side, not stacked on top of each other. And we tilt up and down much more than we pan left or right.” This quote is important because instead of looking at films that were square and in a 4:3 format, widescreen films were created to replicate the human eye. This is a really important change, especially for the year because it changed how most films were created afterwards.

     Lastly, a final film that similar to Bicycle Thieves shows realism, is a documentary film called Salesman (1969) directed by The Maysles Brothers and Charlotte Zwerin. This documentary was made after World War II in the 1960s, set in the 1960s. It takes place in New England, Florida, and Chicago and follows four Bible salesmen, specifically one who struggles to keep up with his Bible sales compared to the other salesman. The main lesson of the documentary is human desperation and self-doubt when relating to capitalism. A quote that is straight from the directors of the film states, “Some people say that the audience won’t sit through a long documentary, because it is not emotionally involving,” says Dave. “But we think that, properly done, this kind of film can be the most emotionally involving. We wish to show people living their own lives and speaking their own thoughts with a minimum of structuring of events by the film emotionally involving. We wish to show people living their own lives and speaking their own thoughts with a minimum of structuring of events by the filmmaker.” (page 19). This is important because it shows a real story with authenticity happening from actual people and not actors. Although the topic of this documentary might seem strange to some people, it is emotional with how it shows human desperation and self-doubt, which is such a unique look on a sales job.

      When relating Italian neorealism, documentary, and technological advances within cinema, a specific film comes to mind that combines all of these changes in cinema into one. That film is Oppenheimer (2023) directed by Christopher Nolan. Oppenheimer fits realism, documentary, and technicolor into one film. For realism, Oppenheimer followed the biography of “American Prometheus” based on Oppenheimer’s life. For the documentary, Oppenheimer is a biopic that depicts a real person and a real historical event that happened. For technicolor and widescreen, Oppenheimer uses special technology that has never been done before. Nolan made this film on 70mm IMAX and uses black and white as well as scenes in color to differentiate between subjective and objective perspectives. Oppenheimer also has no CGI and therefore creates all of its effects through real-life recreations. Oppenheimer is one of the most different films out there because it combines all of these elements, not to mention the fact that this film is literally about a historical event from World War II, the whole reason Italian neorealism, documentary, and technological advances such as widescreen and technicolor even happened in the first place. This film is probably one of the best films for a myriad of reasons and combines all of these changes within cinema into this one film, which is a masterpiece in itself.

Sources:

Bondanella, Peter. “Three Neorealist Classics by Vittorio De Sica” Vittorio De Sica, 2000, pp. 172-179, https://doi.org/10.3138/9781442683136-016.

Haleff, Maxine. The Maysles Brothers and “Direct Cinema”.

SCHRADER, PAUL, and Robert Brink. “WIDESCREEN.” Film Comment, vol. 51, no. 5, 2015, pp. 62–65. JSTOR, http://www.jstor.org/stable/43577950.

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[jlgfilmframes]

“Montparnasse et Levallois” (1964) by Jean-Luc Godard

Cinematography: Albert Maysles

[annoyingthemesong]

SUBLIME CINEMA #87 - GREY GARDENS

A staggering portrait of wealth and madness, the Maysles brothers documentary about the eccentric Bouvier duo of little and big Edie is one of the finest docs ever made. This film spawned several adaptations, a play, an HBO movie - but the original Grey Gardens is the one that matters.

[davidhudson]

Albert Maysles, November 26, 1926 - March 5, 2015.

Shooting Salesman (1969) with his brother, David.

[oldshowbiz]

Salesman (1969) will appeal to intellectuals with a superiority complex

[vinescreens]

The Criterion Collection - Diablo Cody's Top 10

[lafiguraentutapiz]

Grey Gardens. Albert Maysles, David Maysles, Ellen Hovde, Muffie Meyer. 1976