In Nanook of the North (1922), the life of an Inuit clan was notoriously messed with.
And Man with a Movie Camera (1929) pretty much just made a bunch of shit up. Pennebaker and the Maysles, however, pioneered and then defined throughout the 1950s and ’60s what came to be known as cinéma vérité, documentary filmmaking shouldered the burden of truth, resolving to allow life to operate on its own, brushed only briefly by the manipulative fingers of the filmmaker.
Arguably, documentary filmmaking has always been at the forefront of that aim, though during much of its primordial beginnings—especially throughout the 1920s, ’30s, and ’40s—documentary filmmakers trolled truth as if it was yet another stuffy branch of bourgeois power.
In Land Without Bread (1933), Luis Buñuel parodied the white guilt of popular travelogue docs of the time, pointing out that sadness and economical devastation existed in Spain itself—no need to travel to some faraway land.
If you know you’re being watched, you act accordingly; if you don’t, the recording may carry a subtle tone of voyeurism, of intrusiveness—the feeling that something isn’t quite right.
And yet, from direct cinema to Dogme 95, truth has always been an idealistic goal for many filmmakers, and not necessarily the purity of it, but the translation of its most deeply held essentials.
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