Word: 35mm
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Dates: during 1960-1969
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...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 and Rohmer) which are honest...
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...
Although the Quincy photographers allude lightly to the "Brandeis Exhibit," they would have done better to explain what they share with that exhibit--the theme, the American social landscape and the technique, 35mm camera usually with a 35mm lens. The point is to familiarize the timid viewer with what you are doing and to suggest what to look...
...message in John Levine's work is using the 35mm lens to record not just a situation, but the total environment which surrounds it. In one side of his picture of a support-the-war vendor you can see several blocks down the street. A picture of people at tea includes most of the room. His idea is a good one, and he uses it best in a photo of the light on a man eating an ice cream cone. His subject matter, however, isn't consistently interesting. So, sometimes when his pictures tell us, "Look, here's what...
...these prints (and they are almost always 16mm prints, due to the expense of 35mm printing) came into the country or into existence is a question without precise answer. Many are reduction prints from 35mm, made quickly by people tangential to the distribution profession who had brief access to a print during theatrical release. Many others are known as "dupes," referring to prints made directly from other positive prints; a "dupe" print can usually be detected by its quality: contact printing positive to positive invariably results in higher grain, higher contrast, and consequent lack of image clarity and detail...