Herzog, Werner
The alias name of the filmmaker German Yugoslav origin W. Stipetic (Munich 1942). Made his début with documentaries in 1962 and with a feature film in 1967: Signs of life, filmed in Greece on a soldier idealist and war. The later works, even the dwarves han started by small (1969), Fata Morgana (1970), country of silence and darkness (1971), Aguirre wrath of God (1972), The Great Ecstasy of wood sculptor Steiner (1974), the heart of glass (1976), confirmed his talent visionary and its great attention to the different, the outcast. Thus in the enigma of Kaspar Hauser, Jury Prize at Cannes in 1975, and the ballad of Stroszek (1977), interpreted both by Bruno S., a "Wreck" referred Herzog has highlighted the enormous sensitivity and the infinite pain. Between the successive film to mention are Nosferatu, Prince of the night (1978), Woyzeck (1979), Fitzcarraldo (1982), where they dream ants green (1984), Cobra green (1987), a cry of stone (1991), lessons from dark (1992), documentary on the horrors of the war of the Gulf and my best enemy (1999), portrait of K. Kinski. In 2001 he directed the invincible, on the tragedy of the Polish Jews during the Second World War; in 2002 in the film to episodes Ten Minutes Older - The Trumpet, Herzog recounts in ten minutes a story tied to time. In 2004 he directed the white diamond, in 2005 he directed the unknown deep space and Grizzly man. In 2009 he presented at the Venice Film Festival is the remake of The Bad Lieutenant (Bad Lieutenant: Port of Call New Orleans) of A. Ferrara, both the thriller My Son, my son, What have ye done?. He also attended the Regie lyrics. In 2015 he directed Queen of the desert, film on the life of the archaeologist Gertrude Bell.
Sanjinés, Jorge
(Aramayo). Filmmaker Bolivia (La Paz 1937). A graduate of the institute of cinema of Chile, author of short films which Revolución and Aysa (1965) on the situation in the mines, he made his debut in the feature film with Ukamau (1965; it is), which cost him the dismissal by the director of the Institute of Bolivian cinema. One of the most consistent filmmakers of Latin America, with its own set of production (who called Ukamau), the Girò Blood of Condor (1969): entirely spoken in Quechua, is a film of fierce denunciation of the exploitation of the Andean people. The film was initially banned, then imposed on the screens citizens from popular protest and widespread in the highlands by the director himself. With the courage of the people (1971), financed by RAI who rebaptized it the night of San Giovanni, documented in color repressions of miners (culminating in the night of S. John) and their resistance. After the unfinished Los Caminos de la muerte (the paths of death), on the infiltration of the CIA in the trade union movement has ended in Peru, where he was forced into exile, the main enemy (1973-74), and in Ecuador, out of here (1976). Returning to his homeland, there has realized in 1983 Las Banderas of amanacer, on the uprising of 1979. Other films: The clandestine nación (1989),Para recibir El Canto de Los Pájaros (1995),Los hijos of último jardín (2004).
Cinema
The documentary was born with the Cinema itself, i.e. with the shots made "from true". Assumed to creative art, with works of Vertov, Flaherty, Ivens, Grierson. In the history of cinema the documentary was often the most advanced form of cultural intervention and political and has often preceded the best trends of the film to the subject (verism French, Italian Neorealism, etc.) or even the birth of some national cinema in the new continents (Latin America, Africa, etc.). Decisive was the presence anticipates the militant documentary in "New Courses" Sixties throughout the world. After J. Ivens, precursor of cinema militant, between the documentary filmmakers have emerged the French Rouch and Rossif, Canadians Brault and Perrault, Cuban Álvarez, the Australian Dunlop, the U.S. Wiseman, the Italian Quilici. In the seventies, under the influence of the film-television investigation, there has been a breakthrough in the extension in terms of footage. While the classics of the documentary, from Nanook of the North (1922) of Flaherty at the man with the camera (1929) by Vertov, a land of Spain (1937) by Ivens, among the glaciers of the ocean (1953) of Žguridi, to the world of silence (1956) of Cousteau, in Skopje 63 of Bulajic, did not exceed two hours, with La Hora de los hornos (1968), of the Argentines Solanas and Getino, you had a twofold impulse toward the witness militant and the album geo-social and geo-political, or anthropological, large size. Thus the soviet atlas of Roman Karmen (m. 1978) dedicated to Latin America, investigations of east germans Heynowski Scheumann and on the tragedy of Chile and the Viet Nam, the historical investigation into three parts of the film assembly la Batalla de Chile (1973-75) of the chilean Guzmán, completed in Cuba, the gigantic fresco of Ivens on China, as Yukong removed the mountains (1973-75): 12 films for total 11 hours projection; and yet, in the field of Ethnography and The almost 8 hours it took to the Australian Dunlop in Toward Manhood Baruya (1973) to document the rituals of a tribe of New Guinea. A real social atlas is the one made in the Usa by F. Wiseman, which continues to carry out an intense activity of alternative information, putting under accusation, with scientific rigor, the various institutions. A geographical atlas done with cinema is vice versa to which it was dedicated Folco Quilici, in Italy and in the world. The method of investigation of the feature film, sometimes with long permanence in the field is continued in the Eighties allowing the ten filmmakers of the Japanese group headed by Shinsuke Ogawa realize (after having spent several years with the peasants, sharing life and work) to arrive at the magnificent film of 4 hours the village Furuyashiki, presented in 1984 at the Berlin International Film Festival. The previous year, the Exhibition of Venice, the French Rouquier had presented its Biquefarre which, in the form of mixed between documentary and fiction, was another monument of rural cinema. On a more modest in the middle of Germany (1983) of Ch. Hübner and G. Voss was the result of three years of residence in a country of mining in the Ruhr. The problems of the world of work, of the ecological movement and pacifist, of the Third World and of North-South relations, of western economic system or of the factories of weapons continue to be at the center of the documentaries that you do in the world advanced capitalist. While the Canadian school, both francophone Perrault and Lamothe, both the Anglophone part of C. Low, favors the man in relationship to nature, such as that of the extraordinary documentary filmmaker Armenian A. Pelešian (The seasons, 1975), other compete with the guerrillas in Latin America (Nicaragua, El Salvador) as in Africa (Angola, Mozambique), or move clandestinely in the countries subject to the dictatorship. And just back democracy, leave the budgets as the República perdida (1983) of M. Perez that embraces a half century of repression in Argentina. There are filmmakers distinguished, as Herzog, Delvaux, Schmid, Schroeter, that they do not neglect the documentary. And, while in Italy the practice documental division is, with a few rare exceptions, almost completely disappeared in the United States it is possible to discover the other face of America almost exclusively through the documentary of fitting (as dialog with a Woman Departieron, 1981, wherein L. Hurwitz retraces the history of the progressive America by Indian origins to demonstrations against the war in Viet Nam, or Harlan County U.S.A. B. Kopple, who won the Oscar of the documentary in 1977) and tends to magnify the current one which is linked to the historical memory of the great social struggles and policies, to act with greater fighting spirit on this. § The television documentary, similar to that of Cinema, presents some peculiarities, due to the immediacy with which can become the bearer of the news and special technical possibilities, which extend the scope of action of the documentary maker, allowing him to tackle, according to the formula of the film-investigation, problems and events of public interest (politicians, costume, social, scientific, etc.).
Scientific Cinema
Is that sector, vast, of cinema and television in direct relationship or mediated with the world of science. The dominant categories are: the film of research, where the survey is carried out with the means of cinema (movement, sensitivity of the film, projection) to analyze new processes and reach new knowledge; the film of teaching or didactic, where the fitting is in Demonstration function or pedagogical, with full respect to the scientific theme in act; the film of disclosure, generally directed at the public at large and therefore often presented in salt of public show or television. To be of good disclosure these films must never betray or alter the scientific spirit in the presentation accessible or spectacular of the topic. The French J. Painlevé, in its long activity of scientific, is an example of realization of the film of the various types described. Before the birth of cinema, for their experimentation on movement, the French physiologist É. J. Marey and the American photographer E. Muybridge (both 1830-1904) were the precursors also of scientific documentary, that on fast movements (and ultra fast) and on those lenses would have built its first investigations. The scientific cinema came exploring practically all fields of science; to biology, and particularly to zoology, he devoted himself to the Italian pioneer R. Omegna; to surgery F. Pasinetti, which resumed 35 operations. The astronomy and mathematics were grown in France. The French M. Cantagrel for cinema d the technical teaching, Y. Comandon for microcinematografia, J.-Y. Cousteau for cinema diver, M. Prudhommeau for the film of psychological research; the British P. Smith and M. Field for the series Secrets of Nature; the Soviets B. Dolin and A. M. Zguridi, masters chief of the disclosure on the screen; the Italian V. Tosi, for his films and as Secretary of the International Association, promoter of congresses, conferences and festivals are among the exponents the most illustrious of scientific cinema. How to W. Disney, as series producer popularization nature and its wonders, was a travisatore science and a manipulator of the techniques of cinema science; from his productions, after his death, however there were stretches, removing speech and music anthropomorphic, useful uniconcettuali film didactic. The scientific cinema is continually evolving in its techniques (from röntgencinematografia to three-dimensionality, by objectives placed in special probes to emulsions sensitive to infrared rays) so as to be able to deal with every branch of physics, from the molecular composition of matter to ultrasound. With regard to the contribution of television, it is obviously very important, is integrated with the traditional techniques of scientific cinema in research, both in teaching and in the disclosure.
Herzog, Werner
The alias name of the filmmaker German Yugoslav origin W. Stipetic (Munich 1942). Made his début with documentaries in 1962 and with a feature film in 1967: Signs of life, filmed in Greece on a soldier idealist and war. The later works, even the dwarves han started by small (1969), Fata Morgana (1970), country of silence and darkness (1971), Aguirre wrath of God (1972), The Great Ecstasy of wood sculptor Steiner (1974), the heart of glass (1976), confirmed his talent visionary and its great attention to the different, the outcast. Thus in the enigma of Kaspar Hauser, Jury Prize at Cannes in 1975, and the ballad of Stroszek (1977), interpreted both by Bruno S., a "Wreck" referred Herzog has highlighted the enormous sensitivity and the infinite pain. Between the successive film to mention are Nosferatu, Prince of the night (1978), Woyzeck (1979), Fitzcarraldo (1982), where they dream ants green (1984), Cobra green (1987), a cry of stone (1991), lessons from dark (1992), documentary on the horrors of the war of the Gulf and my best enemy (1999), portrait of K. Kinski. In 2001 he directed the invincible, on the tragedy of the Polish Jews during the Second World War; in 2002 in the film to episodes Ten Minutes Older - The Trumpet, Herzog recounts in ten minutes a story tied to time. In 2004 he directed the white diamond, in 2005 he directed the unknown deep space and Grizzly man. In 2009 he presented at the Venice Film Festival is the remake of The Bad Lieutenant (Bad Lieutenant: Port of Call New Orleans) of A. Ferrara, both the thriller My Son, my son, What have ye done?. He also attended the Regie lyrics. In 2015 he directed Queen of the desert, film on the life of the archaeologist Gertrude Bell.
Sanjinés, Jorge
(Aramayo). Filmmaker Bolivia (La Paz 1937). A graduate of the institute of cinema of Chile, author of short films which Revolución and Aysa (1965) on the situation in the mines, he made his debut in the feature film with Ukamau (1965; it is), which cost him the dismissal by the director of the Institute of Bolivian cinema. One of the most consistent filmmakers of Latin America, with its own set of production (who called Ukamau), the Girò Blood of Condor (1969): entirely spoken in Quechua, is a film of fierce denunciation of the exploitation of the Andean people. The film was initially banned, then imposed on the screens citizens from popular protest and widespread in the highlands by the director himself. With the courage of the people (1971), financed by RAI who rebaptized it the night of San Giovanni, documented in color repressions of miners (culminating in the night of S. John) and their resistance. After the unfinished Los Caminos de la muerte (the paths of death), on the infiltration of the CIA in the trade union movement has ended in Peru, where he was forced into exile, the main enemy (1973-74), and in Ecuador, out of here (1976). Returning to his homeland, there has realized in 1983 Las Banderas of amanacer, on the uprising of 1979. Other films: The clandestine nación (1989),Para recibir El Canto de Los Pájaros (1995),Los hijos of último jardín (2004).
Herzog, Werner
The alias name of the filmmaker German Yugoslav origin W. Stipetic (Munich 1942). Made his début with documentaries in 1962 and with a feature film in 1967: Signs of life, filmed in Greece on a soldier idealist and war. The later works, even the dwarves han started by small (1969), Fata Morgana (1970), country of silence and darkness (1971), Aguirre wrath of God (1972), The Great Ecstasy of wood sculptor Steiner (1974), the heart of glass (1976), confirmed his talent visionary and its great attention to the different, the outcast. Thus in the enigma of Kaspar Hauser, Jury Prize at Cannes in 1975, and the ballad of Stroszek (1977), interpreted both by Bruno S., a "Wreck" referred Herzog has highlighted the enormous sensitivity and the infinite pain. Between the successive film to mention are Nosferatu, Prince of the night (1978), Woyzeck (1979), Fitzcarraldo (1982), where they dream ants green (1984), Cobra green (1987), a cry of stone (1991), lessons from dark (1992), documentary on the horrors of the war of the Gulf and my best enemy (1999), portrait of K. Kinski. In 2001 he directed the invincible, on the tragedy of the Polish Jews during the Second World War; in 2002 in the film to episodes Ten Minutes Older - The Trumpet, Herzog recounts in ten minutes a story tied to time. In 2004 he directed the white diamond, in 2005 he directed the unknown deep space and Grizzly man. In 2009 he presented at the Venice Film Festival is the remake of The Bad Lieutenant (Bad Lieutenant: Port of Call New Orleans) of A. Ferrara, both the thriller My Son, my son, What have ye done?. He also attended the Regie lyrics. In 2015 he directed Queen of the desert, film on the life of the archaeologist Gertrude Bell.
Sanjinés, Jorge
(Aramayo). Filmmaker Bolivia (La Paz 1937). A graduate of the institute of cinema of Chile, author of short films which Revolución and Aysa (1965) on the situation in the mines, he made his debut in the feature film with Ukamau (1965; it is), which cost him the dismissal by the director of the Institute of Bolivian cinema. One of the most consistent filmmakers of Latin America, with its own set of production (who called Ukamau), the Girò Blood of Condor (1969): entirely spoken in Quechua, is a film of fierce denunciation of the exploitation of the Andean people. The film was initially banned, then imposed on the screens citizens from popular protest and widespread in the highlands by the director himself. With the courage of the people (1971), financed by RAI who rebaptized it the night of San Giovanni, documented in color repressions of miners (culminating in the night of S. John) and their resistance. After the unfinished Los Caminos de la muerte (the paths of death), on the infiltration of the CIA in the trade union movement has ended in Peru, where he was forced into exile, the main enemy (1973-74), and in Ecuador, out of here (1976). Returning to his homeland, there has realized in 1983 Las Banderas of amanacer, on the uprising of 1979. Other films: The clandestine nación (1989),Para recibir El Canto de Los Pájaros (1995),Los hijos of último jardín (2004).
Cinema
The documentary was born with the Cinema itself, i.e. with the shots made "from true". Assumed to creative art, with works of Vertov, Flaherty, Ivens, Grierson. In the history of cinema the documentary was often the most advanced form of cultural intervention and political and has often preceded the best trends of the film to the subject (verism French, Italian Neorealism, etc.) or even the birth of some national cinema in the new continents (Latin America, Africa, etc.). Decisive was the presence anticipates the militant documentary in "New Courses" Sixties throughout the world. After J. Ivens, precursor of cinema militant, between the documentary filmmakers have emerged the French Rouch and Rossif, Canadians Brault and Perrault, Cuban Álvarez, the Australian Dunlop, the U.S. Wiseman, the Italian Quilici. In the seventies, under the influence of the film-television investigation, there has been a breakthrough in the extension in terms of footage. While the classics of the documentary, from Nanook of the North (1922) of Flaherty at the man with the camera (1929) by Vertov, a land of Spain (1937) by Ivens, among the glaciers of the ocean (1953) of Žguridi, to the world of silence (1956) of Cousteau, in Skopje 63 of Bulajic, did not exceed two hours, with La Hora de los hornos (1968), of the Argentines Solanas and Getino, you had a twofold impulse toward the witness militant and the album geo-social and geo-political, or anthropological, large size. Thus the soviet atlas of Roman Karmen (m. 1978) dedicated to Latin America, investigations of east germans Heynowski Scheumann and on the tragedy of Chile and the Viet Nam, the historical investigation into three parts of the film assembly la Batalla de Chile (1973-75) of the chilean Guzmán, completed in Cuba, the gigantic fresco of Ivens on China, as Yukong removed the mountains (1973-75): 12 films for total 11 hours projection; and yet, in the field of Ethnography and The almost 8 hours it took to the Australian Dunlop in Toward Manhood Baruya (1973) to document the rituals of a tribe of New Guinea. A real social atlas is the one made in the Usa by F. Wiseman, which continues to carry out an intense activity of alternative information, putting under accusation, with scientific rigor, the various institutions. A geographical atlas done with cinema is vice versa to which it was dedicated Folco Quilici, in Italy and in the world. The method of investigation of the feature film, sometimes with long permanence in the field is continued in the Eighties allowing the ten filmmakers of the Japanese group headed by Shinsuke Ogawa realize (after having spent several years with the peasants, sharing life and work) to arrive at the magnificent film of 4 hours the village Furuyashiki, presented in 1984 at the Berlin International Film Festival. The previous year, the Exhibition of Venice, the French Rouquier had presented its Biquefarre which, in the form of mixed between documentary and fiction, was another monument of rural cinema. On a more modest in the middle of Germany (1983) of Ch. Hübner and G. Voss was the result of three years of residence in a country of mining in the Ruhr. The problems of the world of work, of the ecological movement and pacifist, of the Third World and of North-South relations, of western economic system or of the factories of weapons continue to be at the center of the documentaries that you do in the world advanced capitalist. While the Canadian school, both francophone Perrault and Lamothe, both the Anglophone part of C. Low, favors the man in relationship to nature, such as that of the extraordinary documentary filmmaker Armenian A. Pelešian (The seasons, 1975), other compete with the guerrillas in Latin America (Nicaragua, El Salvador) as in Africa (Angola, Mozambique), or move clandestinely in the countries subject to the dictatorship. And just back democracy, leave the budgets as the República perdida (1983) of M. Perez that embraces a half century of repression in Argentina. There are filmmakers distinguished, as Herzog, Delvaux, Schmid, Schroeter, that they do not neglect the documentary. And, while in Italy the practice documental division is, with a few rare exceptions, almost completely disappeared in the United States it is possible to discover the other face of America almost exclusively through the documentary of fitting (as dialog with a Woman Departieron, 1981, wherein L. Hurwitz retraces the history of the progressive America by Indian origins to demonstrations against the war in Viet Nam, or Harlan County U.S.A. B. Kopple, who won the Oscar of the documentary in 1977) and tends to magnify the current one which is linked to the historical memory of the great social struggles and policies, to act with greater fighting spirit on this. § The television documentary, similar to that of Cinema, presents some peculiarities, due to the immediacy with which can become the bearer of the news and special technical possibilities, which extend the scope of action of the documentary maker, allowing him to tackle, according to the formula of the film-investigation, problems and events of public interest (politicians, costume, social, scientific, etc.).
Scientific Cinema
Is that sector, vast, of cinema and television in direct relationship or mediated with the world of science. The dominant categories are: the film of research, where the survey is carried out with the means of cinema (movement, sensitivity of the film, projection) to analyze new processes and reach new knowledge; the film of teaching or didactic, where the fitting is in Demonstration function or pedagogical, with full respect to the scientific theme in act; the film of disclosure, generally directed at the public at large and therefore often presented in salt of public show or television. To be of good disclosure these films must never betray or alter the scientific spirit in the presentation accessible or spectacular of the topic. The French J. Painlevé, in its long activity of scientific, is an example of realization of the film of the various types described. Before the birth of cinema, for their experimentation on movement, the French physiologist É. J. Marey and the American photographer E. Muybridge (both 1830-1904) were the precursors also of scientific documentary, that on fast movements (and ultra fast) and on those lenses would have built its first investigations. The scientific cinema came exploring practically all fields of science; to biology, and particularly to zoology, he devoted himself to the Italian pioneer R. Omegna; to surgery F. Pasinetti, which resumed 35 operations. The astronomy and mathematics were grown in France. The French M. Cantagrel for cinema d the technical teaching, Y. Comandon for microcinematografia, J.-Y. Cousteau for cinema diver, M. Prudhommeau for the film of psychological research; the British P. Smith and M. Field for the series Secrets of Nature; the Soviets B. Dolin and A. M. Zguridi, masters chief of the disclosure on the screen; the Italian V. Tosi, for his films and as Secretary of the International Association, promoter of congresses, conferences and festivals are among the exponents the most illustrious of scientific cinema. How to W. Disney, as series producer popularization nature and its wonders, was a travisatore science and a manipulator of the techniques of cinema science; from his productions, after his death, however there were stretches, removing speech and music anthropomorphic, useful uniconcettuali film didactic. The scientific cinema is continually evolving in its techniques (from röntgencinematografia to three-dimensionality, by objectives placed in special probes to emulsions sensitive to infrared rays) so as to be able to deal with every branch of physics, from the molecular composition of matter to ultrasound. With regard to the contribution of television, it is obviously very important, is integrated with the traditional techniques of scientific cinema in research, both in teaching and in the disclosure.
Music
The first music festivals were organized in England (The Festival of the Sons of the Clergy, from 1665; Three Choirs Festival, from 1715; etc.) to celebrate solemn occasions, mobilising for a short time and in works of great commitment masses choral and instrumental otherwise hardly available. Traditional centers of British festivals were Gloucester, Hereford, Worcester, Birmingham, Norwich, Manchester, etc. on the European continent the festival he tarried impose (Niederrheinisches Musikfest, established in 1817 in the Rhineland, in imitation of the Three Choirs Festival), while the English tradition found fertile ground in the USA. The Bayreuth Festival (1876) began the kind of events dedicated exclusively to a composer (in the specific case Wagner) and on this model is also poses, from 1917, the next Salzburg festival (mainly dedicated to Mozart). Between the monographic festival great development had the Rossini Opera Festival in Pesaro, founded in 1980. A varied repertoire, although clearly identified, distinguishes the Festival of Munich (since 1901), the Maggio Musicale Fiorentino (since 1933), the Festival of Glyndebourne (from 1934), all with keen interest to the opera. The applicant is the tradition of the festival that take their name from places of tourist interest and climate; among those artistically more significant you recall the Edinburgh Festival (1947), of Aix-en-Provence (1948), Dutch (1949), Bath (1951), Vienna (1951), of the Two Worlds in Spoleto (1958) and Israel (1961). Of particular importance are finally the festival entirely dedicated to contemporary music, a valid means of dissemination of experiences more advanced: among these the festival of the ISCM (from 1923, every year in a different city), Venice (1930), Donaueschingen (1950), Darmstadt, Palermo, Royan, etc.
Cinema
The documentary was born with the Cinema itself, i.e. with the shots made "from true". Assumed to creative art, with works of Vertov, Flaherty, Ivens, Grierson. In the history of cinema the documentary was often the most advanced form of cultural intervention and political and has often preceded the best trends of the film to the subject (verism French, Italian Neorealism, etc.) or even the birth of some national cinema in the new continents (Latin America, Africa, etc.). Decisive was the presence anticipates the militant documentary in "New Courses" Sixties throughout the world. After J. Ivens, precursor of cinema militant, between the documentary filmmakers have emerged the French Rouch and Rossif, Canadians Brault and Perrault, Cuban Álvarez, the Australian Dunlop, the U.S. Wiseman, the Italian Quilici. In the seventies, under the influence of the film-television investigation, there has been a breakthrough in the extension in terms of footage. While the classics of the documentary, from Nanook of the North (1922) of Flaherty at the man with the camera (1929) by Vertov, a land of Spain (1937) by Ivens, among the glaciers of the ocean (1953) of Žguridi, to the world of silence (1956) of Cousteau, in Skopje 63 of Bulajic, did not exceed two hours, with La Hora de los hornos (1968), of the Argentines Solanas and Getino, you had a twofold impulse toward the witness militant and the album geo-social and geo-political, or anthropological, large size. Thus the soviet atlas of Roman Karmen (m. 1978) dedicated to Latin America, investigations of east germans Heynowski Scheumann and on the tragedy of Chile and the Viet Nam, the historical investigation into three parts of the film assembly la Batalla de Chile (1973-75) of the chilean Guzmán, completed in Cuba, the gigantic fresco of Ivens on China, as Yukong removed the mountains (1973-75): 12 films for total 11 hours projection; and yet, in the field of Ethnography and The almost 8 hours it took to the Australian Dunlop in Toward Manhood Baruya (1973) to document the rituals of a tribe of New Guinea. A real social atlas is the one made in the Usa by F. Wiseman, which continues to carry out an intense activity of alternative information, putting under accusation, with scientific rigor, the various institutions. A geographical atlas done with cinema is vice versa to which it was dedicated Folco Quilici, in Italy and in the world. The method of investigation of the feature film, sometimes with long permanence in the field is continued in the Eighties allowing the ten filmmakers of the Japanese group headed by Shinsuke Ogawa realize (after having spent several years with the peasants, sharing life and work) to arrive at the magnificent film of 4 hours the village Furuyashiki, presented in 1984 at the Berlin International Film Festival. The previous year, the Exhibition of Venice, the French Rouquier had presented its Biquefarre which, in the form of mixed between documentary and fiction, was another monument of rural cinema. On a more modest in the middle of Germany (1983) of Ch. Hübner and G. Voss was the result of three years of residence in a country of mining in the Ruhr. The problems of the world of work, of the ecological movement and pacifist, of the Third World and of North-South relations, of western economic system or of the factories of weapons continue to be at the center of the documentaries that you do in the world advanced capitalist. While the Canadian school, both francophone Perrault and Lamothe, both the Anglophone part of C. Low, favors the man in relationship to nature, such as that of the extraordinary documentary filmmaker Armenian A. Pelešian (The seasons, 1975), other compete with the guerrillas in Latin America (Nicaragua, El Salvador) as in Africa (Angola, Mozambique), or move clandestinely in the countries subject to the dictatorship. And just back democracy, leave the budgets as the República perdida (1983) of M. Perez that embraces a half century of repression in Argentina. There are filmmakers distinguished, as Herzog, Delvaux, Schmid, Schroeter, that they do not neglect the documentary. And, while in Italy the practice documental division is, with a few rare exceptions, almost completely disappeared in the United States it is possible to discover the other face of America almost exclusively through the documentary of fitting (as dialog with a Woman Departieron, 1981, wherein L. Hurwitz retraces the history of the progressive America by Indian origins to demonstrations against the war in Viet Nam, or Harlan County U.S.A. B. Kopple, who won the Oscar of the documentary in 1977) and tends to magnify the current one which is linked to the historical memory of the great social struggles and policies, to act with greater fighting spirit on this. § The television documentary, similar to that of Cinema, presents some peculiarities, due to the immediacy with which can become the bearer of the news and special technical possibilities, which extend the scope of action of the documentary maker, allowing him to tackle, according to the formula of the film-investigation, problems and events of public interest (politicians, costume, social, scientific, etc.).
Scientific Cinema
Is that sector, vast, of cinema and television in direct relationship or mediated with the world of science. The dominant categories are: the film of research, where the survey is carried out with the means of cinema (movement, sensitivity of the film, projection) to analyze new processes and reach new knowledge; the film of teaching or didactic, where the fitting is in Demonstration function or pedagogical, with full respect to the scientific theme in act; the film of disclosure, generally directed at the public at large and therefore often presented in salt of public show or television. To be of good disclosure these films must never betray or alter the scientific spirit in the presentation accessible or spectacular of the topic. The French J. Painlevé, in its long activity of scientific, is an example of realization of the film of the various types described. Before the birth of cinema, for their experimentation on movement, the French physiologist É. J. Marey and the American photographer E. Muybridge (both 1830-1904) were the precursors also of scientific documentary, that on fast movements (and ultra fast) and on those lenses would have built its first investigations. The scientific cinema came exploring practically all fields of science; to biology, and particularly to zoology, he devoted himself to the Italian pioneer R. Omegna; to surgery F. Pasinetti, which resumed 35 operations. The astronomy and mathematics were grown in France. The French M. Cantagrel for cinema d the technical teaching, Y. Comandon for microcinematografia, J.-Y. Cousteau for cinema diver, M. Prudhommeau for the film of psychological research; the British P. Smith and M. Field for the series Secrets of Nature; the Soviets B. Dolin and A. M. Zguridi, masters chief of the disclosure on the screen; the Italian V. Tosi, for his films and as Secretary of the International Association, promoter of congresses, conferences and festivals are among the exponents the most illustrious of scientific cinema. How to W. Disney, as series producer popularization nature and its wonders, was a travisatore science and a manipulator of the techniques of cinema science; from his productions, after his death, however there were stretches, removing speech and music anthropomorphic, useful uniconcettuali film didactic. The scientific cinema is continually evolving in its techniques (from röntgencinematografia to three-dimensionality, by objectives placed in special probes to emulsions sensitive to infrared rays) so as to be able to deal with every branch of physics, from the molecular composition of matter to ultrasound. With regard to the contribution of television, it is obviously very important, is integrated with the traditional techniques of scientific cinema in research, both in teaching and in the disclosure.
Music
The first music festivals were organized in England (The Festival of the Sons of the Clergy, from 1665; Three Choirs Festival, from 1715; etc.) to celebrate solemn occasions, mobilising for a short time and in works of great commitment masses choral and instrumental otherwise hardly available. Traditional centers of British festivals were Gloucester, Hereford, Worcester, Birmingham, Norwich, Manchester, etc. on the European continent the festival he tarried impose (Niederrheinisches Musikfest, established in 1817 in the Rhineland, in imitation of the Three Choirs Festival), while the English tradition found fertile ground in the USA. The Bayreuth Festival (1876) began the kind of events dedicated exclusively to a composer (in the specific case Wagner) and on this model is also poses, from 1917, the next Salzburg festival (mainly dedicated to Mozart). Between the monographic festival great development had the Rossini Opera Festival in Pesaro, founded in 1980. A varied repertoire, although clearly identified, distinguishes the Festival of Munich (since 1901), the Maggio Musicale Fiorentino (since 1933), the Festival of Glyndebourne (from 1934), all with keen interest to the opera. The applicant is the tradition of the festival that take their name from places of tourist interest and climate; among those artistically more significant you recall the Edinburgh Festival (1947), of Aix-en-Provence (1948), Dutch (1949), Bath (1951), Vienna (1951), of the Two Worlds in Spoleto (1958) and Israel (1961). Of particular importance are finally the festival entirely dedicated to contemporary music, a valid means of dissemination of experiences more advanced: among these the festival of the ISCM (from 1923, every year in a different city), Venice (1930), Donaueschingen (1950), Darmstadt, Palermo, Royan, etc.
Music
The first music festivals were organized in England (The Festival of the Sons of the Clergy, from 1665; Three Choirs Festival, from 1715; etc.) to celebrate solemn occasions, mobilising for a short time and in works of great commitment masses choral and instrumental otherwise hardly available. Traditional centers of British festivals were Gloucester, Hereford, Worcester, Birmingham, Norwich, Manchester, etc. on the European continent the festival he tarried impose (Niederrheinisches Musikfest, established in 1817 in the Rhineland, in imitation of the Three Choirs Festival), while the English tradition found fertile ground in the USA. The Bayreuth Festival (1876) began the kind of events dedicated exclusively to a composer (in the specific case Wagner) and on this model is also poses, from 1917, the next Salzburg festival (mainly dedicated to Mozart). Between the monographic festival great development had the Rossini Opera Festival in Pesaro, founded in 1980. A varied repertoire, although clearly identified, distinguishes the Festival of Munich (since 1901), the Maggio Musicale Fiorentino (since 1933), the Festival of Glyndebourne (from 1934), all with keen interest to the opera. The applicant is the tradition of the festival that take their name from places of tourist interest and climate; among those artistically more significant you recall the Edinburgh Festival (1947), of Aix-en-Provence (1948), Dutch (1949), Bath (1951), Vienna (1951), of the Two Worlds in Spoleto (1958) and Israel (1961). Of particular importance are finally the festival entirely dedicated to contemporary music, a valid means of dissemination of experiences more advanced: among these the festival of the ISCM (from 1923, every year in a different city), Venice (1930), Donaueschingen (1950), Darmstadt, Palermo, Royan, etc.
Log in to comment