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Topic: Jean Rouch


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  Jean Rouch: A Valediction
The news of the death of Jean Rouch at the age of 87 undoubtedly represents the end of a unique and idiosyncratic approach to filmmaking, though the circumstances of his passing might be considered entirely fitting.
Rouch himself supplied the commentary, inaugurating a style of voice-over which he continued long after direct sound was available.
Rouch was always instrumental in training his African collaborators, several of whom went on to have distinguished careers in film.
www.rouge.com.au /3/rouch_valediction.html   (1317 words)

  
 FIPRESCI - News - Jean Rouch
The term cinema verité is used so frequently that it is sometimes forgotten that the main instigator of both the label and the style was the ethnological film-maker Jean Rouch, who has been killed in a car crash in Niger aged 86, a country that was his second home.
Rouch's first feature-length film, Me, A Black (Moi Un Noir, 1958) allowed a group of people from a suburb of Abidjan on the Ivory Coast to dictate the content of a film on their lives.
In a way, it could be argued that Rouch did become a crocodile, mainly because of his many African friends and co-workers, especially Damouré, a Niger friend, with whom he had a creative collaboration that lasted almost four decades.
www.fipresci.org /news/archive/archive_2004/rouch_rbergan.htm   (922 words)

  
 Miami International Film Festival presented by MDC: JEAN ROUCH: CELEBRATION OF LIFE AND FILM   (Site not responding. Last check: 2007-10-13)
Rouch turned to film and anthropology in response to his experiences in Africa during World War II, and he became one of the foremost documentary filmmakers of all time.
Rouch’s wisdom and humor permeates this intimate video, filmed between 1978-80 in locations ranging from a Harvard classroom to his Paris office to his childhood home in the countryside.
Jean Rouch: A Celebration of Life and Film gratefully acknowledges the contributions of the Africana studies program and the department of foreign languages and literatures of the University of Miami; the Comité du Film Ethnographique; Centre National de la Recherche Scientifique; and Documentary Educational Resources.
www.miamifilmfestival.com /Rouch.asp   (1176 words)

  
 Jean Rouch: A Tribute (via CobWeb/3.1 planetlab2.cs.unc.edu)   (Site not responding. Last check: 2007-10-13)
Jean Rouch was a universally-acclaimed filmmaker, anthropologist, civil engineer, explorer, and storyteller.
Rouch explains the sacrifices he made due to the producer that took on his film and the "monster" thus created; his footage was re-edited with a new ending, new titles, stock footage, "tropical muzak," and a newsreel-style narration heavy on drama and highlighting the exotic.
Finally, the intelligence and insight of Rouch emerge as he "finishes" his first film: "This is not only an evocation of the beginnings of Jean Rouch, ethnologue and film director - it is his first film.
der.org.cob-web.org:8888 /jean-rouch/content/index.php   (263 words)

  
 Jean Rouch - Biography - Moviefone
French ethnographer-turned-filmmaker Jean Rouch and his collaborator, Edgar Morin, were the fathers of modern cinéma vérité.
Rouch had degrees in literature and engineering before he became fascinated by African cultures in the early '40s.
In 1958, Rouch released his innovative chronicle of an Abidjan stevedore, Moi, Un Noir.
movies.aol.com /celebrity/jean-rouch/109094/biography   (253 words)

  
 Verite Pioneer Jean Rouch: 1917 - 2004
French filmmaker Jean Rouch, considered the father of cinema verite, died last week in a car crash at the age of 86.
Rouch was attending a film festival in Niger at the time of his death, a country that was in many ways his second home.
In the landmark "Chronicle of a Summer," Rouch and his co-director Edgar Morin asked Parisians the simple question, "Are you happy?" The answers created a stunning document of contemporary life in the city.
www.indiewire.com /people/people_040224rouch.html   (353 words)

  
 Jean Rouch | Obituaries | Guardian Unlimited
Photo: AP Cinéma vérité; is a term so frequently used that it is sometimes forgotten that the main instigator of both the label and the style was the ethnological filmmaker Jean Rouch, who has died, aged 86, in a car crash in Niger.
It could be argued that Rouch did become a crocodile, mainly because of his many African friends and co-workers, especially Damouré Zika, a Niger friend with whom he had a creative collaboration over almost four decades.
Into his 80s, Rouch was still mesmerised by African folk tales, as in I'm Tired Of Standing, I Lie Down (Moi Fatigué Debout, Moi Couché, 1997), the title being a heartfelt utterance by a talking tree.
www.guardian.co.uk /obituaries/story/0,3604,1152069,00.html   (931 words)

  
 Cinema verite pioneer Jean Rouch dead at 86 [Archive] - The CHUD.COM Message Boards   (Site not responding. Last check: 2007-10-13)
FRENCH film director Jean Rouch, whose pioneering 1960s work in the documentary-style work known as "cinema verite" inspired filmmakers in France and the United States, was killed in a car crash in the remote desert of Niger.
Rouch, a longtime supporter of African filmmaking, died when the Mercedes in which he was riding hit a truck stopped on a highway 550km northeast of the capital, Niamey, state radio reported today.
Rouch and his partners made their presence and that of their cameras apparent in the film, and included their subjects in its editing.
www.chud.com /forums/archive/index.php/t-58640.html   (332 words)

  
 Jean Rouch (1917-2004) — Rencontres internationales du documentaire de Montréal — film festival
Jean Rouch died in February in Niger, a country he had walked across many times, a country he studied, and loved, and learned from as well, shooting films and snapping photos as he went, a country where he was able to work as both an ethnographer and a filmmaker.
This creed, which Rouch enjoyed repeating at every opportunity, is the best possible definition of how he saw the complex relationship between fiction and reality and as such, it provides the key to reading his entire body of work.
By acknowledging that subjectivity is integral to the act of filming, Rouch extended the notion of participation to the point where he recognized-and made us recognize-that the filmmaker changes the phenomenon he or she observes.
www.ridm.qc.ca /ridm7.e/films.hommages.rouch.html   (717 words)

  
 Jean Rouch: Cinéma-vérité, Chronicle of a Summer and The Human Pyramid   (Site not responding. Last check: 2007-10-13)
Rouch on the one hand grasps the enormous shift in perception caused by the introduction of the photographic image, and on the other, due to his scientific background, comprehends the impact of the observer on his subject matter.
It is this tension between Rouch the poet and Rouch the scientist that constitutes the uniqueness of his films, and that sees his influence far exceeding his original field of ethnographic film.
Rouch recognizes that the facts are always disturbed by the person who asks the question, and through his acknowledgement of the subjectivity brought in by the observer, he can infuse the rationality that otherwise prevails in any kind of experiment with poetic and aesthetic qualities.
www.sensesofcinema.com /contents/01/19/rouch.html   (4563 words)

  
 A Tribute to Jean Rouch (via CobWeb/3.1 planetlab2.cs.unc.edu)   (Site not responding. Last check: 2007-10-13)
Jean Rouch’s path to the felicitous fusion of art and science was a circuitous one.
In March of 2000, Jean Rouch, then 82 years old, traveled to New York University to be the central participant in Rouch 2000, a commemoration of his profound contributions to anthropology and ethnographic film.
Jean Rouch’s greatest contribution was to have created a body of work in which the limits of the ethnographic are the limits of the imagination.
www.rouge.com.au.cob-web.org:8888 /3/rouch_tribute.html   (1656 words)

  
 Maitres Fous - Jean Rouch
The filmmaker and ethnographer Jean Rouch died in northern Niger on February 19, 2004.
Jean Rouch's interest in Africa began during World War II when, in 1941, he was sent to the French colony of Niger as an engineer from L'Ecole des Ponts et Chaussées.
Rouch's work in Africa is characterized by "shared anthropology" and "ethno-fiction" and all his films illustrate a keen rethinking of both ethnography and filmmaking.
www.maitres-fous.net   (341 words)

  
 The Mac Weekly:Slippages of Fiction: A Tribute to Jean Rouch at Bell
Rouch, who was born in 1917, developed a new type of documentary film practice that blurred the boundaries between producer and subject, fiction and reality.
Far before contemporary rethinking of anthropology and filmmaking, Rouch’s African work is characterized by innovations such as “shared anthropology” and “ethnofiction,” which embraced the daily life and imagination of a new generation of Africans.
From 1978 to 1980, Ann McIntosh, a friend of Rouch and a videomaker, followed Rouch on his travels to teach summer seminars at American universities and captured aspects of his life in Paris, whether chatting with friends in cafÈs or at the Musee de l’Homme.
www.macalester.edu /weekly/111904/arts02.html   (524 words)

  
 Jean Rouch: Les Nègres
Jean Rouch behauptet, seine Kamera sei in Extase geraten bei diesem Ritual.
Rouch himself forbade the film to be shown to those whom he filmed during their trance.
Jean Rouch's anthropological and film making activities which began in the 1940's have focused on the ethnographic study, analysis, and depiction of West African and French cultures.
swiki.hfbk-hamburg.de:8888 /Lebensreform/39   (3857 words)

  
 Jean Rouch: Cinéma-vérité, Chronicle of a Summer and The Human Pyramid (via CobWeb/3.1 planetlab2.cs.unc.edu)   (Site not responding. Last check: 2007-10-13)
What Rouch wishes to recuperate from Vertov is not the notion of the cinema-eye, radically different from the human eye, but rather the possibility of a marriage, a synthesis, between the human eye and the cinema eye – a fusion whose result will be a greater humanity and a greater objectivity at the same time.
If “anthropology must destroy what it investigates”, (7) Rouch is not interested in human nature as a lifeless object in front of the lenses, but wants to capture it as it breaths, moves, and evolves; the camera then becomes indispensable in recording life in its duration.
This approach, which Rouch explores in all of his documentaries, is obviously riddled with contradiction and ambivalence, and is attributable to his double role as anthropologist and filmmaker.
www.sensesofcinema.com.cob-web.org:8888 /contents/01/19/rouch.html   (4566 words)

  
 BBC NEWS | Europe | Father of 'cinema verite' dies
French film director Jean Rouch, a pioneer of the "cinema verite" style of documentaries, has been killed in a car crash in Niger at the age of 86.
Rouch's wife and two colleagues were injured in the road accident 600km (375 miles) north of the capital, Niamey, on Wednesday night.
Rouch helped inspire US and French film-makers and was a long-time supporter of African cinema.
news.bbc.co.uk /2/hi/europe/3504425.stm   (335 words)

  
 French culture | cinema : Jean Rouch, legendary anthropologist and filmmaker
Rouch's long and still active career is inextricably intertwined with the transforming world of West Africa where he first worked as a civil engineer during World War II; he still spends a good portion of every year there.
Far in advance of contemporary rethinking of both anthropology and filmmaking, Rouch was developing an entirely new kind of documentary film practice that blurred the boundaries between producer and subject and fiction and reality.
His African work, characterized by innovations such as "shared anthropology" and "ethno-fiction", is noted for its embrace of both the daily life and imagination of a new generation of Africans.
www.ambafrance-us.org /culture/cinema/festival/rouch/rouch1.html   (229 words)

  
 Jean Rouch - Films as Director:, Other Films:
Rouch's evolution as an ethnographic filmmaker and his progressive exploration of subjectivity can be traced through key films.
Rouch conveys both collective and personal responses in the self-induced hysteria which culminates in the eating of a sacrificial dog.
With the camera providing the catalyst, pupils developed scenes from their own experiences to create a form of cathartic psychodrama, but the experiment was flawed by the lack of synchronized sound, and efforts to recreate raw emotions for a later soundtrack proved difficult.
www.filmreference.com /Directors-Ri-Sc/Rouch-Jean.html   (2262 words)

  
 American Museum of Natural History
In memory of renowned French ethnographic filmmaker Jean Rouch (1917-2004) who died this past year in a car accident in Niger, the festival celebrates his life and work.
Working primarily in Africa, Rouch's anthropological work was characterized by his concern to work not only "with" his subjects, but alongside them.
In 1977, the Mead Festival's inaugural year, Rouch was the first filmmaker to be honored with a retrospective.
www.amnh.org /programs/mead/mead04/special.html   (385 words)

  
 Ciné-Ethnography
In the four essays that follow, Rouch discusses the ethnographic film as a genre, the history of African cinema, his experiences of filmmaking among the Songhay, and the intertwined histories of French colonialism, anthropology, and cinema.
And in four interviews, Rouch thoughtfully reflects on each of his films, as well as his artistic, intellectual, and political concerns.
Rouch is the recipient of numerous awards, including the International Critics Award at Cannes for the film Chronicle of a Summer in 1961.
www.upress.umn.edu /Books/R/rouch_cineethnography.html   (350 words)

  
 The Cinematic Griot: The Ethnography of Jean Rouch. - book reviews Journal of Popular Film and Television - Find ...
The Cinematic Griot: The Ethnography of Jean Rouch.
In the tradition of Flaherty and Vertov, Jean Rouch has from 1941 achieved stunning ethnographic images in his abundant films on Sub-Sahara Africa, particularly among the Dogon of present-day Mali and the Songhay people of present-day Niger.
Griot or not (and the Songhay consider him as such), Rouch is surely a master documentarian (though a controversial one) to whom some attribute the first film of the cinema verite movement (Chroniques d'un ete).
www.findarticles.com /p/articles/mi_m0412/is_n3_v22/ai_16678146   (819 words)

  
 Chronicle of a Summer
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.
The film's self-reflexive structure, in which Rouch and Morin screen the film for the participants to critique it on-screen, as well as their own reactions to the critique, is still, amazingly, contemporary.
Jean Paul Sartre and Simone de Beauvoir: From 1967, for the first time on video or DVD, a portrait of two of the most influential and controversial writers and thinkers of the 20th century.
www.frif.com /new2003/sum.html   (643 words)

  
 Breaking Open the Head
But Rouch’s influence extends far beyond anthropology; he has been called the father of the "Nouvelle Vague" in France—he was a major influence on Jean-Luc Godard—and the founder of "cinema verite." He continues to influence contemporary artists and filmmakers today.
Rouch, in fact, is considered a griot in the part of Africa where he works.
Among the Songhay, Rouch’s films are seen as cinematic ballads recalling the men of the past, in many cases documenting rituals, such as lion hunts and Hauka possessions, that have since vanished or changed completely.
www.breakingopenthehead.com /about_the_author_br2.htm   (980 words)

  
 The Films of Jean Rouch
Jean Rouch's (1917 - 2004) breakthrough work in cinéma vérité in the 1960's helped inspire the direct cinema movement in the U.S. and the nouvelle vague (New Wave) in France where he was a key figure in the Cinémathèque Française and the founding director of the Comité du film ethnographique at the Musée de l'Homme.
Rouch's long career was inextricably intertwined with the transforming world of West Africa where he first worked as a civil engineer during World War II.
In the landmark CHRONICLE OF A SUMMER (1961), Rouch and his co-director Edgar Morin asked Parisians the simple question, "Are you happy?" The answers created a stunning document of contemporary life in the city.
www.frif.com /filmmkr/rouch.html   (413 words)

  
 jeanrouch
Jean Rouch was born in Paris and studied civil engineering before turning to film and anthropology in response to his experiences in West Africa during World War II.
Though Rouch is perhaps best known for the landmark film Chronicle of a Summer, and for the inspiration that it offered to the French New Wave filmmakers and the direct cinema movement, his most striking contributions to film remain more than seventy ethnographic films made in West Africa.
He has written extensively on directors Jean Rouch, Chris Marker, and Jean-Luc Godard and his current research deals with the concept of everyday life in France.
www.ihousephilly.org /jeanrouch.htm   (741 words)

  
 Jean Rouch - Wikipedia, the free encyclopedia
Jean Rouch (31 May 1917 - 18 February 2004) was a French filmmaker and anthropologist.
Rouch's films mostly belonged to the cinéma vérité school – a label that Rouch himself coined.
"Jean Rouch: Cinéma-vérité, Chronicle of a Summer and The Human Pyramid" by Barbara Bruni
en.wikipedia.org /wiki/Jean_Rouch   (277 words)

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