<P> The directors of the movement take different viewpoints on their degree of involvement with their subjects . Kopple and Pennebaker, for instance, choose non-involvement (or at least no overt involvement), and Perrault, Rouch, Koenig, and Kroitor favor direct involvement or even provocation when they deem it necessary . </P> <P> The films Chronicle of a Summer (Jean Rouch), Dont Look Back (D.A. Pennebaker), Grey Gardens (Albert and David Maysles), Titicut Follies (Frederick Wiseman), Primary and Crisis: Behind a Presidential Commitment (both produced by Robert Drew), Harlan County, USA (directed by Barbara Kopple), Lonely Boy (Wolf Koenig and Roman Kroitor) are all frequently deemed cinéma vérité films . </P> <P> The fundamentals of the style include following a person during a crisis with a moving, often handheld, camera to capture more personal reactions . There are no sit - down interviews, and the shooting ratio (the amount of film shot to the finished product) is very high, often reaching 80 to one . From there, editors find and sculpt the work into a film . The editors of the movement--such as Werner Nold, Charlotte Zwerin, Muffie Myers, Susan Froemke, and Ellen Hovde--are often overlooked, but their input to the films was so vital that they were often given co-director credits . </P> <P> Famous cinéma vérité / direct cinema films include Les Raquetteurs, Showman, Salesman, Near Death, and The Children Were Watching . </P>

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