SMPA 3479.10
Seavey
9/24/12
Salesman (1968): Film Analysis
Beginning in the 1950s, light, serious cameras with portable sync sound gave documentary filmmakers the flexibility to train wherever they needinessed. This technological advance, along with many others in the industry, allowed Albert and David Maysles to nominate a documentary film chronicling the lives of four bible salesman by actually shoot their meetings with potential customers inside their homes. In doing so, Salesman (1968) strives to shows audiences what would rent occurred in humankind were the cameras not there to observe it. For the virtually part, Salesman effectively humanizes the main characters in the film by exposing the twain faces of a salesman: the face he shows to his peers, and the face he shows to his customers. However, a few intimate scenes with the main protagonist, Ryan Brennan, seem to have been stirred by the documenter in a manner that benefits the story the Maysles brothers want to tell.
Salesman is an important documentary historically because it was one of the first in the form of cinema verite. According to Bill Nichols, Cinema verite reveals the reality of what happens when people interact in the presence of a camera.
In Salesman, the Maysles brothers do mostly a good job of familiarizing the audience with the four main characters of the film: Charles Devitt The Gipper, James bread maker The Rabbit, Paul Brennan The Badger, and Raymond Martos The Bull, by filming them conversing with one another casually in their hotel room. In guardianship a distance between the documenter and the documented, the audience got to know these characters without foreshortenting the sense they were intruding upon their everyday activities. Yet, in some scenes, the audiences sees Brennan acting for the camera and not behaving like himself.
At many points passim the film, the camera films Brennan while he is in his car render If I Were a Rich Man. During these scenes, the...If you want to get a full essay, order it on our website: Orderessay
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