Chapter 2
DISCUSSION
In what way does a simply amateur style medium of video documentation/ filming affect in causing deeper fear in our society?
I. The influence of Cinéma vérité in Slender mans’ mythology
At this point, we have established that the source of the Slender mythology is from the Marble Hornet video entries which can highly be debated that it maybe an elaborate hoax, but through that we are able to prove the main factors to the Slender mythology; with the strengthening of the origins by media popularity. We also know that in the influence of Oren Peli’s “Paranormal Activity” (2009) that Marble Hornets may have been inspired by the similar cinematography. The researcher has found that the impact of amateur style of cinematography is largely factorial to this study in the sociological fear endurance of the public/ viewer. What is clear is that this media of filming contributes to the belief & fear of Slender.
At this point, such form of amateur style documentation/ filming must be addressed in technical terms. The researcher now provides details to the term in question which is known in the filming industry as Cinéma vérité. But how can one categorize such a form of filming, can it be considered as a form of art at all?
In filming, there are many forms of cinematography from stop motion animation to CGI interactions. And further more, can it be concluded that the Marble Hornets videos are truly a fragmentation & application of a successful Cinéma vérité. The researcher believes strongly that it is. The power of suggestion is what would really contribute to the myth of Slender thus Cinéma vérité.
Established in the late 50’s (early 60’s), Cinéma vérité (French term for “Truth Cinema or True Cinema”) during the French film movement where in directors mix together the art form of Realism into their filming.
The directors’ intention was for the cinematography was to show people in everyday situations with authentic dialogue and naturalness of action. Rather than following the usual technique of shooting sound and pictures together, the film maker first tapes actual conversations, interviews, and opinions. After selecting the best material, he films the visual material to fit the sound, often using a hand-held camera. The film is then put together in the cutting room.
Influentially, Slender mans origins would have been secured with the help of Cinéma vérité, with its closer to life experience of the audience to the film. Anything we feel we can derive based on reality will be influence in any topic as such any myth.
II. The application of Realism in Cinéma vérité
According to research done by M. A. Issari (Columbus University, 1971-79) and S. Mamber (1974), Cinéma vérité is a style of filmmaking that attempts to convey candid realism. Often employing lightweight, hand-held cameras and sound equipment, it shows people in everyday situations and uses authentic dialogue, naturalness of action, and a minimum of rearrangement for the camera. The style was pioneered in the late 1950s and early 60s by such French documentary filmmakers as Jean Rouch (1961) and Chris Marker and has been influential in the work of a number of directors, most notably Jean-Luc
Godard. This type of cinematography dealt with, as mentioned, the application of Realism which was commonly used in art during the 18 hundreds & pre era of World War 1. Cinéma vérité aims to capture “life as it is”, simply meaning day to day encounters of individuals with no further special effects or glamour, which mainly employed realism as a source. The aim for the films cinematography focuses on that unique key element of realistic connection between the audience and the film it self. This is the unique element which differs in providing total impact to the publics’ senses because it provides that sense of open-mindedness to what is possible and what could be, which in turn, contribute to the Slender mythology.
British documentaries in the 20th century, the neorealist movement of post-World War II Italy, and the British “free” documentaries of the 1950s that dealt with the significance of ordinary situations influenced the development of the French cinéma vérité. The movement was criticized for too often degenerating into reportage rather than artistic expression. Nevertheless, it continued the movement toward greater realism in films and demonstrated a different approach to documentary film making. Outstanding examples of French cinéma vérité are Jean Rouch’s Chronique d’un été (1961; Chronicle of a Summer) and Chris Marker’s Le Joli Mai (1962). (http://www.britannica.com/EBchecked/topic/118029/cinema-verite) (Gloria Lotha, The Encyclopædia Britannica - 2012)
From information gathered, the researcher has indicated the technical term and origins of the amateur-style cinematography which is now referred to as Cinéma vérité which correlates to the Slender mythology. We can also now establish that Marble Hornets and Paranormal Activity were filmed in the same process in 2009. Bringing back the question as stated for the fear factor; the fear is induced by the form of Realism which Cinéma vérité highly portrays.
III. Slender man as “Art”
The realist approach when looking at realism, Realism (France art movement, 1848) is the artistic attempt to recreate life as it is in the context of an artistic medium. The artist’s function is to report and describe what he sees as accurately and honestly as possible. Realism began as an artistic movement in the 18th Century in Europe and America. It was a revolt against the conventions of the classic view of art which suggested that life was more rational and orderly that it really is. It was also a revolt against the romantic traditions in art which suggested that life was more emotionally satisfying that it really is. Realism tries to portray life as objectively as possible. The realistic artist tries to keep his own preconceived notions out of his art but rather to just report what he sees as accurately as possible, “warts and all.”
Realism was a broad spectrum movement involving painting, literature, drama in several European countries. Some of the leading French realist painters were Corat, Courbet and Daumier.
When the 20th century arrived with the invention of the moving picture camera, one of the first motion picture ever made was titled “Workers Leaving the Lumiere Factory” by the French film pioneers, the Lumiere brothers (1895). This film was one of the first realistic films ever made because its subject matter was exactly what the title stated. This was in direct contradistinction to another French film of the period “Trip to the Moon” (1902, Georges Méliès ) which was an overt fantasy and one of the first science fiction films ever made. Since its inception, the world of cinema has descended from these two progenitor film approaches:
Realistic films that try to show the world as it actually is, and Fiction/fantasy films that try to present the artist’s imaginative view of the world in an entertaining manner.
(http://www.parlez-vous.com/misc/realism.htm)(Robert McConnell, Ph.D, 1997)
From all indications & the application of the art form of Realism, the researcher would assume that Cinéma vérité can be considered under the category of art form in cinema, thus, stating that the Marble Hornets Slender myth is a successful adaptation of Realism Cinéma vérité.
IV. On the artistic merits of Slender man
How ever, according to a study by J. Rank (Film Reference, 2013) it states that Cinéma vérité can not be considered a form of cinematography and thus a form of art under cinema. Just this year of 2013, a film review by Rank questioned Cinéma vérité, excluding the form as being none creditable due to its factors of realism in conceptions, stating that Cinéma vérité has no secure path nor does it focus on any particular subject matter. Rank continues by calling the form neither a genre nor a movement in the film industry quoting that Cinéma vérité is a contested term in the history of cinema. In his study, he claims that realism is simply an illusion which undermines the main idea and story of the film. In any indication by Ranks theory, this would indicate that the Marble Hornets video entry and other forms of Cinéma vérité filming is impossibly considered a form of artistic expressionism both on the scale of cinematography and art form. If one looked at the perspective of J Ranks review on Cinéma vérité based on the Marble Hornets Slender videos, the author would cite that from Entry video 1 a basic story line would not be seen. According to which, if the story line is unable to be shown, and the audience is left to conclude on their own terms; the plot of the entire film is regardless, thus, concluding that the video entries are simply just our illusion of thought which diverts from the actual concept by the director and story. (http://www.filmreference.com/encyclopedia/Independent-Film-Road-Movies/Realism.html) (J Rank, 2013)
But from studies done on Cinéma vérité by Peter Wintonick (Cinema Vérité: Defining the Moment – 1999) his studies showed and proved that Cinema Vérité does have a place in society and in the cinematic film industry as an art form. From his research he found how Cinema Vérité continues to keep the traditional elements of reality in place during the rising and age of multimedia.
A main point that determines the success of a film is the connection the audience can make with the film and characters involved. Cinema Vérité is able to make that direct connection since the film form primarily focuses on the real-life factor. Thus, viewers may adapt a larger impact to the connection to the film and their day to day life. Another key is the correlation of suggestion in the film. Magic Realism (in connection with Realism) specifies the mix of Reality and mythology, as which the Slender videos are implied. The power of suggestion in the Marble Hornets case indicates the open-mindedness of the audience.
It is also specified that there is a subject matter involved, despite leaving most audience to imagine some minor details, the imagine part is what really give the unique perspective to the audience and thus creating the plot on its own.
Through this, the researcher must conclude that Cinema Vérité is indeed therefore a category for art in filming & cinematic form & a well use of cinematography. Further more, this would support that Marble Hornets Slender used the proper application of elements. In looking through the perspective of Peter Wintonick, though the Marble Hornet entries begun with a no further plot, the power of suggestion was implied. Which relates directly to Slender implying the possibility that there is a creature such as Slender man that exist in out society. (http://sensesofcinema.com/2000/11/verite/) (Katherine Speller – 2000)
In these indications the study will prove that Realism in films is highly affective in providing closer connection to the audience and thus in this case fear. The realism factor and ‘possibility’ factor is what made the Marble Hornets other said related films in question so dramatically impacting to the public. We basically take the real world element and mix it up with the 'possibility' factor to create a work that can move the minds of an individual. When we mean by ‘possibility’ factor this simply means as literal as it sounds which means A thing that may happen or be the case, which makes one say it may be out there, or it may exist. This is why Marble Hornets and Paranormal Activity were successful in touching the minds to the viewer. Thus, implying that Slender man could be in general existence.
By taking reality and adding something mythical (Magic Realism) you create the perfect horror film which most horror directors do, but what made the films in question so dramatic was its form of filming, mix with the application of myth and culture. These elements would provide concrete evidence to Slender man’s origins.
Factors that make Cinéma vérité cinematography an effective tool in the propagation of the Slender myth.
A. Realism in film
As mentioned, Realism attempts to recreate life as it is in the context of an artistic medium (French art movement, 1848). Basically meaning portraying day to day life as it goes, without special effects, without flashing glamour or what not. Realism in film has not specific criteria which some critics may say is just an illusionist form of filming if not a form at all.
French director, screenwriter and actor, Jean Renoir is one of the most original filmmakers in the history of French cinema (French Film movement, 1948 – 1979). A poet of realism and a master of artifice, a revolutionary and a classicist, he is a key figure in the history of European modernism. Renoir has influenced filmmakers as varied as François Truffaut and Robert Altman, Satyajit Ray, and Wes Anderson.
Though he made some ten silent films, Renoir hit his stride with the arrival of sound. The savagely witty Boudu sauvé des eaux (Boudu Saved From Drowning, 1932) was a biting satire of the duplicitous French bourgeoisie. With the creation of films such as Toni (1934), Le Crime de Monsieur Lange (The Crime of Monsieur Lange, 1936), and La Marseillaise (1938), Renoir participated in the struggle for workers' rights that culminated in the Popular Front in June 1936. But even at their most political, Renoir's films are also meditations on artistic performance. He often preferred actors trained in the music hall tradition and his films often include a theatrical representation of some sort. Even as politically committed a film as The Crime of Monsieur Lange , which depicts the creation of a worker's collective, centers around a fantasy cowboy melodrama titled Arizona Jim . La Grande illusion (The Grand Illusion, 1937), starring Jean Gabin and Erich von Stroheim, remains Renoir's most widely seen film. A condemnation of war, this film also reveals Renoir's ideas about the role of performance in the construction of national and social identities.
With La Règle du jeu (The Rules of the Game, 1939) Renoir created one of the great works in the history of cinema. Often cited as a masterpiece of realism for its use of dolly shots, depth of focus, and outdoor photography, Renoir's film is a complex portrait of a society ruled by social masks and illusions. It was an incredibly bold film to make on the eve of World War II.
Exiled from Nazi-occupied France in 1940, Renoir made several films in Hollywood, including The Southerner (1945) in collaboration with William Faulkner. In India after World War II, Renoir filmed The River (1950), which although it has been criticized for its colonialist point of view, nevertheless, is intent upon showing the complexity of human relations caught in a moment of national upheaval.
In film history, realism has designated two distinct modes of filmmaking and two approaches to the cinematographic image. In the first instance, cinematic realism refers to the verisimilitude of a film to the believability of its characters and events. This realism is most evident in the classical Hollywood cinema. This simply means in retrospect that it has less of the logical form of events applied.
The second instance of cinematic realism takes as its starting point the camera's mechanical reproduction of reality, and often ends up challenging the rules of Hollywood movie making. By this, we mean the true form of perspective of reality in society. In summing up, realism in film such as the Slender Marble Hornets are basic social events which are portrayed as such, day to day living and human interaction.
(http://www.filmreference.com/encyclopedia/Independent-Film-Road-Movies/Realism.html) (J Rank, 2013)
B. Magic Realism
Magic Realism is a highly influenced concept used in common films and literature in the modern age.
According to studies by Allen B. Ruch & Tamara Kaye Sellman (Editors of Margin) in 2003, Magic Realism was first applied in the turn of the century.
The term magic realism, originally applied in the 1920's to a school of painters, is used to describe the prose fiction of Jorge Luis Borges in Argentina, as well as the work of writers such as Gabriel García Márquez in Colombia, Gunter Grass in Germany, and John Fowles in England. These writers interweave, in an ever-shifting pattern, a sharply etched realism in representing ordinary events and descriptive details together with fantastic and dreamlike elements, as well as with materials derived from myth and fairy tales. Robert Scholes has popularized metafiction as an overall term for the large and growing class of novels which depart drastically from the traditional categories either of realism or romance, and also the term fabulation for the current mode of free-wheeling narrative invention. These novels violate, in various ways, standard novelistic expectations by drastic -- and sometimes highly effective -- experiments with subject matter, form, style, temporal sequence, and fusions of the everyday, the fantastic, the mythical, and the nightmarish, in renderings that blur traditional distinctions between what is serious or trivial, horrible or ludicrous, tragic or comic.
To sum that all up, the article merely states that Magic Realism takes the real world elements and adds fictional and in this case myth in the story. It is a genre where magic elements are a natural part in an otherwise mundane, realistic environment. Although it is most commonly used as a literary genre, magic realism also applies to film and the visual arts. Realism as we know is the elements of the real world, or commonly known as "as it is", Magic Realism basically mixes myth or supernatural elements in place to the realistic story. Thus, this would contribute to the myth of Slender man, a creature which existed since the 17th century to stalk ordinary individuals who have no major relevance to society (ordinary people). (http://www.themodernword.com/gabo/gabo_mr.html) (Allen B. Ruch & Tamara Kaye Sellman, Editors of Margin - 2003)
C. Public & cultural mythology & imagination/ suggestion elements
Cinéma vérité, as we now know, highly uses the form of Realism in its process. Realism in filming is also evidently impacting both on none and horror filming. Under this matter, as we look at the fear induced by Cinéma vérité & Realism under the category of horror cinematography, the clear factor is the ‘possibility’ of it being real in life. As mentioned earlier, we fear what could be possible.
Fear is induced under heavy stress, and common stress inductive factors come from day to day life (Natural Remedies, members of the National Food and Drug administration 1997-2013)
Commonly known fears are evidently used in most films now-days, even during the early 60’s and 70’s films not under Cinéma vérité still showed Realism of the era of violence, racial discretion, and sexual abuse. With the progression of the years, cinema improved its perspective of reality and its impact to society. It was never uncommon of reality to be mixed with mythology in films for example George Lucas’s Star Wars trilogy (1974-2005), evident mythology of Greek and Roman gods and systematic government policies and reforming are clearly show in the film.
So with the mix of reality and myth, the director induces fear even more, thus the possibility of whether there IS or ISN’T applies to the viewers perspective of the film. Slender man’s deep senses as indicated in the past are elements of common fears that are seen all around us in our daily lives, fears such as child molesters, pedophiles, stalkers, and rapist and so on. Cultural fears which are applied to the character to create a being of myth and ultimately secure a well formulated creature.
If the viewer believes in what is presented, his/her perspective and portrayal of fear is supported by his/her imagination. Our world is not limited to the cinema screen for imagination and commonly most of the things we fear are associated with our wide range of power in imagining good or bad implications. This would bring us back to the Tulpa Effect (Kelly Fylln, 2011) which specifies that it is a thought form, collective thoughts of separate individuals. (Evans-Wentz – Tibetan Book of the Dead, 1927)
This simply states that mythological figures such as the Slender man are possibly our imaginations, thus, our doings. The power of our minds to believe can induce fear which would thus make such a film form impacting to the public. This can also be applied on documentaries wherein we see war first hand and those who are ultimately affected by this. A good director knows to make a good film; the characters or individuals involved in and affected in the film must affect the audience. In short, what the character feels, the audience must feel it as well.
D. Atmosphere of the film
Atmosphere is essential to any good game mainly because it allows the gamer to enter what is perceivably a world that is relatable. The same is applied to films now-a-days. With the age of 3D films, directors and film makers push their films to be as realistic as possible; to allow the audience to feel as they can enter a world that really exists. This application is relevant to the Slender myth because as we know, the Slender 8 page game secured the origins to the Slender phenomenon. Though the game was game in the simplest of form, the atmosphere was derived from the fearful reality of a dark forest which is a most common dread of any individual, to be lost in a dark forest alone. Marble Hornets, though filmed both in day and night, the isolation of one individual (main character in the film) provides the same effect in the perspective of atmosphere. In the video entries, the main characters either return or go forward into areas which are either abandoned or isolated (i.e. dark forest).
In the case of fear, atmosphere is commonly a factor. In a research by Discovery Channel ™ on “Fear” (Susan Winslow, 2010) the atmosphere in bad conditions around an individual can cause heavy adrenaline and send stress hormones & signals to the Amygdale part of the brain. One atmospheric fear is Claustrophobia, the fear of small and close spaces. And the most commonly induced fear, Achluophobia which being the fear of darkness.
A study on indie games in 2009, Games elements needed to create a creditable indie horror game (which applies to films) must have atmosphere as top priority. One of the important factors to a well credited indie game or any game in general is the proper use of atmosphere. It's one thing to have a story and good graphics but the atmosphere of the game basically crunches everything all together to create a proper feel of the game.
What makes the atmosphere so affective is due to is relatable factor. The player or viewer is able to relate to the game mainly because they have this connection that can be seen in day to day lives, for example, entering an abandoned mansion, seeing the fog a the broken old furniture; it gives it enlightens the senses and opens the mind of the viewer. If the player is able to feel as if he/she is in the game, and if he or she can make that connection to simple elements in the game (such as trees and cars) then the atmosphere is then a success. As long as there are elements that are familiar with to the player, they will be able to adjust their minds to the game.
Atmosphere can be seen as the guts of the game, the envelope that encases everything else, with atmosphere wrapped around the experience you can get away with other lackluster elements (graphics, story etc.) because as long as the player is feeling the game then they will want to continue. (http://www.gamescares.com/main/index.php?option=com_content&view=article&id=155&Itemid=23) (Shane, 2009)
In a game review in 2011 by “Game” (Starsports ™, 2011) & similarly compared by local game reviewer MarkiplierGAME (Mark F., YouTube ™, 2012) they state that a good indie-horror game requires a realistically fearful atmosphere which one person can relate to in reality.
In paranormal studies from 2009 -2012, research showed that individuals placed in dark, isolated and cold areas of abandoned buildings or houses are most likely to have paranormal encounters or what they simply call chill-feelings even though they were placed in areas irrelevant to supernatural events (National Geographic- “Paranatural”, 2011). This would support the factor theory that atmosphere plays a key role in inducing fear especially in the case of Cinéma vérité cinema
Chapter 3
SUMMARY, CONCLUSIONS
and RECOMMENDATIONS
SUMMARY
This paper attempted to determine the effects of amateur style cinematography (Cinéma vérité) and its impact towards society.
The researcher process used in this particular study is the descriptive research method wherein data from electronic documents, various references and sources such as video documentations, journal entries and articles, web blogs and game description where used to answer the research question posed. The research findings are the following:
1. Though Slender man’s myth and origins spanned further then expected, the main source of Slender’s popularity came from the Marble Hornets video entries in 2009. Then later popularized by the Indie horror game Slender: 8 pages in 2011-2012 by Mark J. Hadley.
2. Audience both to the video entries to Marble Hornet and gamers of the Slender games (and to other indie horror games and films) are highly effected by fear due to the fact that most games used ARG’s (Alternate Reality Games) which states that it takes the realism factor of society and day to day life into place, thus connecting itself with the Tulpa Effect which in this case states it is a thoughtform or collection of thoughts created by an individual commonly manifesting into a solid figure or energy connecting this with the Quantum Theory of energy that exist all around us.
3. Although Marble Hornets and Paranormal Activity are considered unreal, their impact to the audience is evident of its style of filming which being Cinéma vérité. Thus is the influence to the Slender man mythology.
4. Cinéma vérité is more effective and is considered unique due to the fact of its application of Realism, an art form commonly used during the 1800’s. Cinéma vérité would not be known as it is without realism thus realism is an extensive and primary part of Cinéma vérité.
5. Cinéma vérité is art thus the Slender man figure and myth is also an interpretation of art. Regardless whether or not the myth is not clearly seen as an art form, the background idea and deeper origins to the myth clearly shows the artistic workings and process to make a myth come to life. Cinéma vérité with its use of Realism applied to film is thus considered are. Filming in general is art therefore concluding that Cinéma vérité in use is another category of art.
6. Despite small debates on the authenticity of Cinéma vérité as an art form in the earlier years, Cinéma vérité remains in general as an art form to society. Common scholars and film enthusiast commonly consider the practice an art form regardless of those who claim there is no clear objective to the film nor does it function to portraying the plot of the film. With the connection of the audience to the film and characters, Cinéma vérité is made successful.
7. In Conclusion, what has been discussed are the many factors that support Cinéma vérité and the process and techniques which make it such an effective form of cinematography and thus why it is considered an art form and considered the main application used in the Slender myth.
CONCLUSSIONS
Based on the findings of this study, the following conclusions are drawn:
1. Cinéma vérité is a highly effective method of cinematography when it comes to horror inducing films that wish to give an impacting affect on the audience and thus society. It is also concluded that Cinéma vérité is a respectable form of art in the cinematic category using its high influence of Realism & Magic Realism. Further more, this would indicate and prove that the Slender Marble Hornets videos are a successful interpretation of Cinéma vérité application in cinematography.
2. The legendary Slender Man and his myth is simply just, a myth. However, he does exist in our society as common fears and evil that walks our streets and occupies our prisons. We, thus, are the creators of Slender man; he exists because we make him exist, sprung up by the media and social imagination; but in reality we made him from common fears such as Pedophiles, Stalkers, Rapists, fears that have endured through out our history.
RECOMMENDATIONS
After arriving at the conclusion of the study, the researcher hereby makes the following suggestions/ recommendations:
1. In analyzing and or preparing a good horror film or any good film in general, it is best to look deeper into the subconscious mind of the audience so that the film and characters may connect with the viewer. This film to audience connection is the key to a successful film. This applies to future film makers, students & researchers alike.
2. In regards to mythology and supernatural/ paranormal research, it is highly recommended to research and think logically on the background of the topic in question. By looking deeper into the origins, the possible future researcher would find a more scientific and meaningful criteria to the story. This recommendation would reflect many mythological researchers, skeptics and believers of the supernatural culture as well for those future researchers.
References:
A. Books
Bazin, André. Jean Renoir . Edited with an introduction by François Truffaut. Translated by W.W. Halsey II and William H. Simon. New York: De Capo, 1992. March, 2013.
Bergan, Ronald. Jean Renoir: Projections of Paradise . Woodstock, NY: Overlook Press, 1994. March, 2013.
Braudy, Leo. Jean Renoir, The World of His Films . New York: Columbia University Press, 1989. March, 2013.
Dr. Wentz, Evans. (1927) Tibetan Book of the Dead, Oxford University publications. Wellington Square, UK. March 2013.
Faulkner, Christopher. The Social Cinema of Jean Renoir . Princeton, NJ: Princeton University Press, 1986. March, 2013.
M. A. Issari (1971 and 1979) and S. Mamber (1974); Cinéma Vérité: Defining the Moment (film, 1999). March, 2013
Renoir, Jean. My Life and My Films . (Translated by Norman Denny). New York: Atheneum, 1974. Translation of Ma vie et mes films (1974). March, 2013.
B. Electronic Media
Winslow, Susan. “What is Fear?”. n.d. Retrieved Jan 2013 from http://www.nativeremedies.com/ailment/overcoming-fears-info.html .
Surges, Victor. “Slender Man – Mythical Creature Guide”. Jan 2010. Retrieved Feb 13 from http://www.mythicalcreaturesguide.com/page/Slender+Ma .
Rouse, Margaret. “Quantum Theory”. June 2006. Retrieved Feb 2013 from http://searchcio-midmarket.techtarget.com/definition/quantum-theory .
Fylnn, Kelly. “Tulpa – A physical reality or hallucination”. Sep 2011. Retrieved Feb 2013 from http://www.examiner.com/article/tulpa-a-physical-reality-or-hallucination .
Hadley. Mark J. “Slender game”. July 2012. Retrieved Feb 2013 from http://indiegames.com/2012/07/terrifying_free_beta_slender_m.html .
Anderson. Michael. “ARG”. March 2013. Retrieved Feb 2013 from http://www.argn.com/ .
Jay. “Marble Hornets”. March 2012. Retrieved Feb 2013 from http://marblehornets.wikidot.com/ .
M. A. Issari and S. Mamber. “Cinéma Vérité”. n.d. Retrieved March 2013 from http://www.factmonster.com/encyclopedia/entertainment/cinema-verite.html .
McConnel, Robert Ph.D. “Realism & Cinéma Vérité”. n.d. Retrieved March 2013 from http://www.parlez-vous.com/misc/realism.htm .
Lotha, Gloria. “Cinéma Vérité”. n.d. Retrieved March 2013 from http://www.britannica.com/EBchecked/topic/118029/cinema-verite .
Rank, J. “Independent Film road movies”. n.d. Retrieved March 2013 from http://www.filmreference.com/encyclopedia/Independent-Film-Road-Movies/Realism-REALISM-IN-FILM-HISTORY.html .
Ruch, Allen B & Sellman, Tamara K. “Magic Realism” June 2003. Retrieved March 2013 from http://www.themodernword.com/gabo/gabo_mr.html .
Shane. “Elements of a Horror Game – Atmosphere”. Oct 2012. Retrieved March 2013 from http://www.gamescares.com/main/index.php?option=com_content&view=article&id=155&Itemid=23 .
Speller, Katherine. “Cinéma Vérité: Defining the moment”. Dec 2000. Retrieved March 2013 from http://sensesofcinema.com/2000/11/verite/ .
