Word: 16mm
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...statement to make superficially and still score emotional points. Audiences have always been gulled by it, even 'sophisticated' ones, so Kramer's influence must not be simply scoffed at. In fact, the only alternatives offered to it by the few American films dealing with contemporary social ills have been 16mm Newsreel formlessness, the terrorism of ex-Weatherman Robert Kramer's Ice, the varying documentary techniques of Wiseman, De Antonio et al. None are really interested in getting at the conceptual root of an issue, and then advocating viable morality or actions. None really operate to aim at the heart...
...been allowed public exhibition in Argentina and private attempts are dangerous-they also had to deal with the high production costs of using film as the medium of their essay in the situation of a capitalist economy. They worked as cheaply as possible,using the most crude 16mm Bolex available, without sinc-sound or motorized drive (making their longest possible takes about 30 seconds). And to raise the money they worked in the daytime making commercials (many of which are exploited contemptuously in the film), an appropriate-and inescapable-contradiction...
...critics, a background which has continually influenced their work. About four years ago, a film entitled Paris Vu Par (literally "Paris as seen by...") was organized. By including three "established" directors (Chabrol, Rouch, and Godard) along with three young directors (Douchet, Pollet, and Rohmer) and by shooting in 16mm rather than the more expensive 35mm, an economically feasible means was found to give the second generation Cahiers critics a chance to follow the path of the first. The result is surprisingly successful, containing two films (by Chabrol and Rouch) whose stature can only be termed monumental, two films (by Douchet...
Claude Chabrol's "La Muette" is a work as precise and beautiful as any of his features. Chabrol deliberately modified his style to suit the limitations of a 16mm camera and a stock whose grain texture cannot hold the details that commercial 35mm film can. Thus the frames do not have the astounding depth and dominance of background objects which we have come to associate with recent Chabrol. At the same time, however, the frames retain a three dimensional quality and a precise interaction of parts that has been the basis of all of Chabrol's work. Unlike Godard...
...this grumbling obliquely suggests that the excellent 16mm equipment of the New York and California film schools cannot-substitute for solid thought and style. Personal commitment and expression through film-making is harder to acquire than technical proficiency and, to date; is still sorely lacking in the winners of this most-important student competition...