Word: truthful
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Dates: during 1960-1969
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RECENT AMERICAN documentarians such as Leacock, Pennebaker, and the brothers Maysles have identified themselves with the the cinemaverite movement. According to their work, cinemaverite's "truthfulness" requires a chance meeting between subject and camera, where there is no time to bother with meaningful composition or cogent verbal statements. They assume that neither occurs in "real" life and thus has no place in "truth cinema". For them the presence of the camera (cinema) is only another aspect of truth, one which is expressed either by incessant zooms or reflections of the camera in the nearest mirror. Their films never appear...
...romantic vision which depends on maintaining mystery, on refusing to give rational explanations of people and cities, is one which denies the possibilities of objective truth. By using documentary materials to establish a romantic truth. Marker places himself in a diametrically opposite position from the American documentarians. For Marker, truth is a subset of cinema. TERRY CURTIS...
None of this constitutes proof that Kennedy was not telling the truth, and a full explanation by the Senator-or a real investigation by the authorities -might answer many questions. Until that time, it remains legitimate to wonder about the large and little mysteries that surround the case...
...accident, because the same thing could have happened to anyone." By 58% to 30%, the public felt that "he has suffered and been punished and should be given the benefit of the doubt." Yet, by 44% to 36%, a plurality thinks that Kennedy has failed to "tell the real truth...
...truth, Chekhov did not feel any strong inner drive to write for the theatre. He composed his plays only when he felt they had a good chance of imminent performance; and, furthermore, he wrote his parts for specific players--an idea that finds few advocates today, although it is precisely what Shakespeare had done. None of Chekhov's plays was fully understood and appreciated at its first performance, and he was repeatedly plagued with self-doubts. On occasion he vowed never to bother with the stage again. And he got into heated interpretational conflicts with Stanislavsky and Nemirovich-Danchenko...