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Topic: Boris Kaufman

	Dziga Vertov - Wikipedia, the free encyclopedia
		Kaufman studied music at Bialystok Conservatory until his parents fled with their family from the invading German army to Moscow in 1915; they soon settled in St.
		Kaufman adopted the name "Dziga Vertov", which means "spinning top"; Vertov's political writings and his work on the Kino-Pravda newsreel series shows a revolutionary bent which is perhaps unsurprising.
		Vertov's brother Boris Kaufman was a noted cinematographer who worked for directors such as Elia Kazan and Sidney Lumet; his other brother, Mikhail Kaufman, worked as Vertov's cinematographer until he became a documentarian in his own right.
	en.wikipedia.org /wiki/Dziga_Vertov (1282 words)

	1992 Black Maria Film + Video Festival Essay
		Boris is perhaps the third Kaufman brother, the youngest, but it is also possible that Vigo and Boris deliberately created a myth.
		Boris saw some of his brother's films in Paris and was drawn into similar work in France, winning attention with a 1930 Vigo-Kaufman collaboration, A Propos de Nice, a mordant portrayal of the upper-class playground, and with several subsequent successes.
		Boris was brief in reply to my questions, but we managed to clarify several points in his career.
	www.njcu.edu /programs/taebmff/bmff/bmffes1992.html (2058 words)

	Boris Kaufman
		Cinematographer Boris Kaufman was born in Poland, the youngest son of a Russian librarian.
		Kaufman was at the forefront of the "experimental" film movement by right of birth: his older brothers were filmmakers Dziga Vertov and Mikhail Kaufman.
		Kaufman was a favorite of director Sidney Lumet, who engaged the cinematographer's services for 12 Angry Men (1957), Long Day's Journey Into Night (1962), The Pawnbroker (1965) and many other choice projects.
	www.djangomusic.com /actor_bio.asp?pid=P+96891 (239 words)

	Dziga Vertov
		Dziga Vertov (January 2, 1896 - February 12, 1954) was a Russian documentary film and newsreel director.
		Vertov was born Denis Abramovich Kaufman to Jewish intellectuals living in Bialystok--at the time a Russian territory--and Russified his Jewish patronymic to Arkadievich in his youth.
		Kaufman adopted the name "Dziga Vertov", which connotes "turning, revolving"; Vertov's political writings and his work on the Kino-Pravda newsreel series shows a revolutionary bent which is perhaps unsurprising.
	www.brainyencyclopedia.com /encyclopedia/d/dz/dziga_vertov.html (1265 words)

	The Last Jews of Birobidzhan (Site not responding. Last check: 2007-10-09)
		The second is Boris Kaufman, a Jew who twice a week hosts a group of elderly women to worship Jesus Christ.
		Oleg shows Boris how to put on the tfilin, tells him what page to turn to in his prayer book, and translates Hebrew words that Boris doesn't know.
		An eager student, Boris follows along and at times closes his eyes and shudders as Oleg's voice rises in prayer.
	www.f8.com /FP/Russia/R04b.html (274 words)

	12 ANGRY MEN
		Kaufman moved easily between television (Rod Serling’s “Patterns”) and the best-looking 1950s fl and white features (such as Elia Kazan’s On the Waterfront and the steamy Tennessee Williams screenplay Baby Doll).
		Kaufman came to Hollywood from Europe, where he had been a cinematographer in the golden age of French cinema, shooting for master Jean Vigo such films as his classic short Zero for Conduct, and doing some of the filming for the (now restored, and stunning-looking) L’Atalante.
		Lumet and Kaufman decided on a two-tiered visual plan to bring the audience into the psychological action of this film, which is essentially a courtroom drama with no courtroom (all of the action takes place in the jury room, as the jury decides the fate of the defendant after the trial).
	www.filmnight.org /12angry.htm (1538 words)

	I Yam What I Yam
		When I say "dynamic" I mean that the Russian populace truly believed in their collective voice and that their "grass roots" efforts would, in fact, change the cultural landscape of their country.
		Luckily, Boris Kaufman was not one of those named during Kazan's reprehensible testimony.
		That same year Kazan released his tenth film titled On The Waterfront and Boris Kaufman was the director of photography for that project.
	home.earthlink.net /~mosnyder/id29.html (1689 words)

	village voice > film > Dziga and His Brothers; Kafka Goes to the Movies by J. Hoberman
		David, Moisey, and Boris Kaufman—"perhaps the most talented brothers in the history of cinema" per film historian Yevgeni Tsymbal—were born in Bialystok (the "most Jewish town in Poland") to a used-book dealer and a rabbi's daughter.
		The town suffered a major pogrom during their childhoods, and their parents would eventually perish in the Holocaust, but the Kaufman brothers attended Russian school and reinvented themselves in the crucible of revolution: David most radically as docu-visionary Dziga.
		Kafka Goes to the Movies, which Hanns Zischler based on his book of the same title, is a tricksy movie—full of artfully layered images—that works hard to invent a connection between the Prague writer and the movies.
	www.villagevoice.com /issues/0402/hoberman3.php (320 words)

	Vitro Nasu
		His brother Boris Kaufman was the cinematographer for L’atalante by Vigo, which answers the second question posed by the film quiz.
		Films of Boris Kaufman include masterpieces such as Zero for Conduct, On the Waterfront, 12 Angry men, and Baby Doll.
		Boris Kaufman may not have the historical cachet that his brother has but more people have seen films captured by his camera.
	www.mutanteggplant.com /vitro-nasu/page/1 (6049 words)

	SparkNotes: On the Waterfront: Directing
		Kazan and Polish-born, New York–based cinematographer Boris Kaufman eschew flashy camerawork and avoid employing extreme angles, intense close-ups, and overt camera movements.
		Kazan and Kaufman use the positioning of characters within a frame to suggest a power dynamic.
		Kazan and Kaufman also use suggestive framing when Father Barry is hoisted out of the hold with Dugan’s corpse on the palette.
	www.sparknotes.com /film/waterfront/section1.html (758 words)

	Vertov
		His younger brothers, renowned Soviet documentary filmmaker Mikhail Kaufman and cameraman Boris Kaufman, would later establish their own niches in film history.
		Then too, Vertov's youngest brother Boris Kaufman, who lived in France, was about to start shooting A PROPOS DE NICE for Jean Vigo.
		Mikhail Kaufman was also dissatisfied by the final version of the film and it marked the end of his collaboration with Vertov.
	cours.cegep-st-jerome.qc.ca /511-411-p.l/vertov.htm (1349 words)

	Boris Kaufman (Site not responding. Last check: 2007-10-09)
		Boris Kaufman, the Oscar-winning cinematographer who shot Jean Vigo's...
		Discuss this person with other users on IMDb message board for Boris Kaufman
		Find where Boris Kaufman is credited alongside another name
	us.imdb.com /Name?Kaufman,+Boris (143 words)

	Zéro de conduite / Zero de conduite / Jean Vigo / Zero for conduct / 1933 / Film review (Site not responding. Last check: 2007-10-09)
		Although most of the cast were amateur actors (Vigo could only afford to hire four profession actors), the film benefits from some credible acting performances.
		Whether it was because of Vigo’s direction, or Boris Kaufman’s photography, or because the actors were genuinely talented, some of the scenes in this film are acutely moving.
		Even when they finally resort to anarchy, the schoolboys are always presented in a positive light and they never for one moment lose our affection.
	frenchfilms.topcities.com /nf_Zero_de_conduite_rev.html (633 words)

	Movie Database - [TV Guide Online] (Site not responding. Last check: 2007-10-09)
		ON THE WATERFRONT is a gritty, no-holds-barred drama about the corruption-glutted New York docks and the dock workers' excruciating struggle to make a living under the control of corrupt unions.
		And it is all the more grim and hard-hitting because of the steel-gray look of cinematographer Kaufman's startling, neo-documentary approach.
		A controversial film of its time because of its violence, raw language (at one point Terry tells the priest to "go to hell"), and its daring in representing labor unions in a negative light, WATERFRONT enjoyed a surprising box office success to match its critical acclaim, taking in $9.5 million on a $900,000 investment.
	online.tvguide.com /movies/database/showmovie.asp?MI=9332 (501 words)

	Boris Kaufman (Site not responding. Last check: 2007-10-09)
		Younger brother of Soviet filmmakers Dziga Vertov and Mikhail Kaufman.
		For the next 15 years Kaufman remained independent from Hollywood and worked almost exclusively with left-oriented directors on a number of outstanding films shot in New York.
		The re-release in 1990 of Vigo's restored L'ATALANTE brought posthumous acclaim for Kaufman's shimmering cinematography.
	theoscarsite.com /whoswho3/kaufman_b.htm (205 words)

	On the Frontier
		The second restoration of On the Waterfront replaced the tears on the original negative (top) with a print identical to DP Boris Kaufman’s original vision (bottom).
		It was only a decade ago that Grover Crisp, Sony Pictures' vice president of asset management and film preservation, attempted a complete restoration of Elia Kazan's On the Waterfront, one of the many cinematic gems then recently acquired for Sony's library.
		This groundbreaking feature, with Oscar-winning cinematography by Boris Kaufman, had deteriorated from its original splendor.
	millimeter.com /mag/video_frontier/index.html (1902 words)

	1464. How Does the North American Free Trade Agreement Affect Central America? (Site not responding. Last check: 2007-10-09)
		Contributing to slow growth were severe external shocks, sizable macroeconomic disturbances, and widespread political instability.
		The challenges Central America faces now may be even greater, conclude Leamer, Guerra, Kaufman, and Segura, because of Mexican liberalization, continuing instability of the real exchange rate, low savings rates, and, finally, the North American Free Trade Agreement.
		Leamer, Guerra, Kaufman, and Segura examine the critical drivers of Central America's future competitiveness: economic liberalization, uncertainty about the real exchange rate, distance from key markets, savings rates, and NAFTA.
	worldbank.org /html/dec/Publications/Workpapers/wps1464-abstract.html (608 words)

	A Propos de Nice Film Review - Time Out Film
		Though officially a co-direction, the picture is usually considered 'a Vigo film'.
		Kaufman's images are vigorous and eloquent, but the mind set behind the project is certainly Vigo's.
		Anyone fighting back against all the unsubtle clamour will register the rage and despair, but may wonder what's to be said after all that.
	www.timeout.com /film/78125.html (171 words)

	Jean Vigo
		A gift from his father-in-law allowed the destitute filmmaker to purchase a second-hand camera and begin work on what would become his first movie, the satirical film essay A propos de Nice (1930).
		It was around this time he met his close collaborator Boris Kaufman, a Russian cinematographer.
		The brother of both cameraman Mikhail Kaufman and director Dziga Vertov (real name Denis Kaufman), whose masterpiece Man with a Movie Camera (1928) influenced A propos de Nice, Boris Kaufman later enjoyed a distinguished career in Hollywood, shooting On the Waterfront (1954) for Kazan and several of Lumet's early films.
	www.sensesofcinema.com /contents/directors/02/vigo.html (2434 words)

	L'Atalante / Jean Vigo / 1934 / Michel Simon / film review (Site not responding. Last check: 2007-10-09)
		L'Atalante is almost as likely nowadays as Eisenstein's Battleship Potemkin (1925), Dreyer's Passion of Joan of Arc (1928) or Dovzhenko's Earth (1930) to turn up on some exalted list of the ten best films ever made.
		I must exist on a different planet emotionally, for Vigo's last film, for all its charm and splendid fl-and-white cinematography (by Boris Kaufman, Dziga Vertov and Mikhail Kaufman's brother, and Louis Berger), continues to strike me as a slight, largely atmospheric thing.
		It's ephemeral; it always seems, while one watches it, capable of dissolving and disappearing entirely.
	frenchfilms.topcities.com /nf_L_Atalante_rev.html (1571 words)

	onthewaterfront
		This colorful story of Mob informers was based on a number of true stories by Malcolm Johnson and was filmed on location in and around the docks of New York and Hoboken, New Jersey.
		Boris Kaufman's sharp fl-and-white cinematography does wonders in building up the tension around the docks.
		Unfortunately Leonard Bernstein's musical score is too schmaltzy to help matters.
	www.sover.net /~ozus/onthewaterfront.htm (553 words)

	film notes, directors, denis kaufman, dziga vertov, kino pravda, man with movie camera (Site not responding. Last check: 2007-10-09)
		film notes, directors, denis kaufman, dziga vertov, kino pravda, man with movie camera
		Mikhail Kaufman who was also a director, and
		Kino Pravda/Film truth series---captured real life on film
	www.filmnotes.com /directors/kaufman.html (46 words)

	REELINSIDER.COM - ON THE WATERFRONT (1954)
		Crew: Direction Elia Kazan, Writing Budd Schulberg, Producing Sam Spiegel, Music Leonard Bernstein, Cinematography Boris Kaufman, Editing Gene Milford, Art Direction Richard Day, Set Direction Name, Costume Design Anna Hill Johnstone, Production Company Columbia Pictures, Distributor, Columbia Pictures Length: 108 minutes
		· Won for Best Motion Picture - Drama · Won for Best Director (Elia Kazan) · Won for Best Motion Picture Actor - Drama (Marlon Brando) · Won for Best Cinematography - Black and White (Boris Kaufman)
		The worst you'll do is flirt with excellence but the best you can hope for is the discovery of art's highest expression at the movies.
	www.reelinsider.com /waterfront.html (1678 words)

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