Talk:Direct Cinema

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The french article seems like a reasonnable beginning.

Anyone would care to translate it?

I have started translation (SECTION 1).

Some English editing (grammar, etc.) may (will) be required...

74.59.64.161 21:50, 20 June 2007 (UTC) Serge

Translation of SECTION 2 has begun

74.59.64.161 15:06, 21 June 2007 (UTC) Serge

I have to finish transaltion of the section on the beginning in US, Latin america, France. I also tried to include what was here with what I got from to the transaltion.

74.59.64.161 19:22, 7 July 2007 (UTC) Serge

Sopmeone should do latin America. Poor section in French.

This article reads more like a film analyst's essay than a encylcopaedic entry. It should be reworked and better structured. Much of what is needed is there, but it needs to be verified and grouped together into separate paragraphs (e.g. brief definition - what distinguishes DC - historical and sociological background - important directors) —Preceding unsigned comment added by 78.49.1.41 (talk) 20:32, 3 September 2007 (UTC)

I have not edited Wikipedia before, but I think someone should point out that this article is strongly biased. As somebody mentioned above, it comes across as an essay, and a rather polemical, politically-charged one at that. As a Canadian and an admirer of Michel Brault, I think his central contribution to direct cinema must be acknowledged, but this article focuses so doggedly on this one figure that it creates a misleading and unbalanced account. For one thing, it is clear that one author has taken pains to exclude English-speaking Canada from the history of direct cinema, even when NFB figures like Wolf Koenig, Roman Kroitor, and Terence Macartney-Filgate indisputably played a central role -- in close collaboration with their French colleagues -- in its development. If I am not mistaken, I remember reading that Brault himself credited Koenig's use of the hand-held camera in 'The Days Before Christmas' as an important inspiration for the use of this technique in Les Raquetteurs. The standard histories also note that Unit B and the French team both benefitted from the technical research performed at the film board, and both absorbed influences like Cartier-Bresson's photography and the British Free Cinema movement -- despite the 'two solitudes', in the cloistered halls of the NFB's Montreal HQ, there was a good amount of cooperation between like-minded filmmakers both French and English. I am not challenging the unique character of Quebecois direct cinema, nor the impact of the socio-political climate of that province on many of its films; this has been established. I just think this article comes across as someone trying to advance their rather narrow-minded personal ideas about a subject rather than presenting a balanced, lucid, neutral account. I can relate to those who might have an ax to grind with the American view that Drew and his associates single-handedly invented DC, but this article unfortunately does not present a more realistic view of this important movement's origins. Perhaps someone could insert much of the information in this article into a long-overdue article on Brault?