Documentary Film London: As social photographers they shied away from the word "artistic," and the voluminous literature of the movement is insistent that Documentary film London film is not art. "Beauty is one of the greatest dangers to Documentary film London," wrote the producer-director Paul Rotha in his Documentary film London Film.6 He came to the astonishing conclusion that photography -the very life blood and essence of the motion picture- was of secondary importance and if too good might prove detrimental. Yet Grierson wrote that Documentary film London was from the beginning ... an 'anti-aesthetic' movement .
1. Webster's New Collegiate Dictionary (Springfield, Mass.: C. C. Merriam Co., 1956), p. 244.
2. British Journal of Photography, vol. 36 (1889), p. 688.
3. Camera Work, no. 24 (1908), p. 22.
4. Lewis W. Hine, Men at Work (New York: The Macmillan Company, 1932).
5. John Grierson, introduction to Paul Rotha, Documentary film London Film (London: Faber & Faber, 1936), p. 5.
6. Ibid., p. 189.
He gets the chance to perform the part of himself in a remarkable Documentary film London, "Moshe Safdie, the Power of Architecture," which kicks off a nine-part series called "Architects on Film" at the Boston Museum of Fine Arts.
It's a rich film, kept alive for all of its 90 minutes by Safdie's personal charm and gift of gab, as well as what the director, Donald Winkler of Montreal, calls "his instinctive sense of when he was on camera."
|
|
Photography
