Documentarians develop camera techniques to access, interpret and compose notions of truth. Dziga Vertov’s kino-pravda (“film truth”) concept was premised on the camera’s ability to reveal truth. In the 1960s, it inspired the development of both cinéma vérité (“truthful cinema”) and direct cinema, which informed Albert and David Maysles’ intimate ‘fly-on-the-wall’ style and Agnès Varda’s use of a handheld camera to create a portrait of society and herself.
Content notification
Our collection comprises over 40,000 moving image works, acquired and catalogued between the 1940s and early 2000s. As a result, some items may reflect outdated, offensive and possibly harmful views and opinions. ACMI is working to identify and redress such usages.
Learn more about our collection and our collection policy here. If you come across harmful content on our website that you would like to report, let us know.
Collection
In ACMI's collection
On display until
16 February 2031
ACMI: Gallery 1
Credits
Collection metadata
ACMI Identifier
P180635
Curatorial section
The Story of the Moving Image → Moving Minds → MM-02. Documentary 1 → MM-02-C01
Object Types
2D Object
Exhibition Prop
Photographic print/Pictorial
Materials
Graphic