Direct Cinema: Was developed in the US in the 1960s, the key figures were Maysles brothers, D A Pennebaker and Robert Drew. Aim- was to challenge previous modes of documentary with the use of a new film language. Other modes were considered to heavily rely on manipulation in post-production and the documented was then lost. Direct- refers to the relationship between the subject and representation. Puts real people in front of the camera and then reveals different aspects of life never before captured on film.

Cinema Verite: Is a style of documentary which combines naturalistic techniques with stylized cinematic devices of editing and camerawork, staged set-ups, and the use of the came to provoke subjects. It can take a provocative stance towards its topics. In French the term means, "truth cinema". It was first used by Jean Rouch, whose films were innovative in the use of technology and in his approach to subject matter. Cinema-vérité, unlike most types of filmmaking, is dependent on specialized camera and sound technology.

Direct Cinema: Martin Scorsese’s 2005 No Direction Home: Bob Dylan covers the singer/songwriter’s entire career. Scorsese and his team researched their subject, wrote a script, collected archival footage and recordings, interviewed Dylan’s contemporaries, and conducted a series of interviews with Dylan himself that serve as the film’s voice-over narration. The filmmakers knew the story they wanted to tell ahead of time and constructed a polished and structured film. While the film features snippets of behind-the-scene action traditional talking-head interviews and voice-over narration which guides the audience through a preplanned timeline.

Cinema Verite: Chronicle of a Summer- Jean Rouch and Edgar Morin Paris. The summer of While war rages in Algeria and pre- independence Congo seethes with violence, ethnographic filmmaker Jean Rouch and sociologist Edgar Morin send two women out into the streets of the city to interview a passer-by. Rouch, whose previous groundbreaking films were shot in Africa, and Morin, an academic and writer, were experimenting with a new kind of documentary film about their own society that would reveal the innermost truth of peoples' lives.

World War II it became widely used as it was suitable for combat filming. Films were circulated amongst military stations and the home front. After its popularity in TV production during the 1950’s, manufacturers then began to credit it as professional and therefore direct cinema begun to produce 16mm lenses, fast emulsion 16mm film stocks and begun to create lighter, smaller models. Before synchronised sound it was easier to use narration, background noise and music. When it was synchronized it was recorded on magnetic strips as optical ‘sound-on-film’. Nagra in 1953 introduced the tape recorder for filmmakers.

Before 1958: No handheld was practical- too heavy Slow film stock No steady shots were possible More crew was necessary No ‘real’ sound Had to restage events for the camera Camera noise was a problem After 1958: Smaller microphones Faster film stocks Lighter Portable 16mm cameras More lenses Two members of crew were necessary Filming was not as intrusive Real sound Could finally revolutionise because it could finally capture real events as and when they happened.