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have taped separately and added to the film later, such as radio broadcasts. David interviews some people and lets others talk freely to the camera. In a scene about one-third of the way into the film, his friend Pepe gives an extended monologue on his critical assessment of the diary as it is shaping up so far, namely that David is making "a very bad work of art." Saying, "Your life is not a very good script," Pepe recommends that David try harder to find what is truly interesting. If he's going to focus on himself—someone who "is not a good character" to watch—then maybe he should take more risks, expose his vulnerabilities—perhaps even try filming himself standing naked in front of the camera, for as long as it takes to find some interesting truths. (
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overt than in David's scene with the unnamed character dubbed by some as the "Thunderbird Lady." This extended scene of a woman—a self-proclaimed nude model—sitting in her car and talking boldly and crudely to the cameraman, mostly about sex—is just too extreme for an actual unmediated encounter, even on the streets of New York. Several critics noted her exaggerated performance for the camera, as well as the fact that she also altered what was going on behind the camera during this scene. L. M. Kit Carson reports that he "choked and dummied up" and "became so unnerved" at this bizarre interview situation that
Michael Wadleigh had to take over and complete the interview for him, something barely noticeable in the final film.
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equipment, location filming, minimal editing, unknown actors, improvised dialogue, and highly personal subject matter, with the David character talking extensively about himself. Louise Spence and
Vinicius Navarro identify some additional techniques: "the direct address to the camera, the wandering narrative, the visual and aural disorder (muddy sound and blurred focus), and the compulsive use of dates to describe the day's filming." Altogether, they write, this carefully crafted film violated "the contract that binds documentary filmmakers to their audiences;" it did a lot of work to "upset our faith in documentary representation and presumptions that are often associated with non-fiction cinema."
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permission, and thereby to potentially make those images public. Part of David's motivation for asserting this power, Latham writes, is that he is experiencing flipped gender roles, or "patriarchy in crisis." In an era when women (as well as people of color and members of the LGBT community) are gradually gaining some power in public spaces, David "represents the growing realization that male power over women is waning." Whereas Sandra, Penny, and the anonymous subway woman "are independent and associated with the outside man's world, David is comparatively needy, impotent, and isolated in his small inner world. is willing to indulge him, except she is too liberated and aggressive for David."
722:. And, as David Blakeslee writes, a lot of commercials, "Still capable after all these years, and even in this incomprehensibly compressed format of delivering their powerfully efficient subliminal messages." This blast of television images speaks to aspects of David's life including the multitudes of images coming to him (and us) daily; and his rather boring life, insular and filled with TV and radio broadcasts along with film. It may also refer to Godard's "24 frames per second," how each individual frame conveys meaning in itself and in relation to other frames, in this case with a total of about 3,600 consecutive frames.
346:'s was new and exciting, and when a lot of underground filmmakers were trying to use the medium in a more poetic way, as an exercise in different kinds of liberation—you know, from personal liberation to liberation from the classical forms of filmmaking. So there were a lot of alternatives to Hollywood moviemaking then. These movies were all trying to find a new way of looking at life. And I was a young, idealistic filmmaker dealing with these same questions. You know: what is one supposed to be trying to do in the movies and how ought one go about doing it? My film,
384:"was basically written (when it was written) on a scene by scene basis" with the actors involved. Other scenes were completely impromptu, such as the one with "the frank sexual talk from the lady in the Thunderbird–actually a transsexual who'd recently undergone a sex-change operation." David B. Lee describes this woman as actually a "pre-op transsexual," and more importantly notes that this is the only woman in the film who isn't victimized by David's camera; who instead openly engages with it, cracking bawdy jokes and even explicitly soliciting sex.
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screening were reportedly "outraged" at the film, which also was "booed at the 1968 San
Francisco Film Festival when the end credits revealed it to be fiction." A college newspaper review noted a sense of "great shock" at having "thought we'd found a truth about life from a film of lived life; instead, we got that meaning from a piece of imaginative art." L. M. Kit Carson said that, given such reactions, when MoMA was to screen the film in 1968, the museum billed the film as a comedy rather than a documentary.
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film, poking into peoples' lives, David alienates and even endangers women and gets himself punched by a cop. As Jaime N. Christley observes, "we meet David in personal and professional freefall. Bad choices, bad pathology, and just plain bad luck coalesce into a black cloud that eventually consumes his life, and before the spare title cards indicate the film's conclusion, our hero will have lost his girlfriend, his camera and sound kit, and revealed himself to be a minor sociopath with major control issues."
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an "endless stream of Top Forty radio and a wondrous, hectic view of television." The Top Forty radio that David listens to includes news reports of war and social unrest along with popular music; and the "hectic view" refers to the sequence that David made by filming one frame from each shot from a whole evening's worth of network TV. Sitting all evening and clicking his camera once after every shot transition, David produced a two-and-a-half minute deluge of separate shots from a
380:, a mode of production defined not by genre but by a drastic lack of production resources along with a by-any-means-necessary mindset. The needed resources include money, equipment, facilities, and professional cast and crew; lacking them requires filmmakers to be very economical and creative, as with McBride and Carson's use of the $ 2,500 MoMA book money. Or with the writing of the film's dialogue. Film critic Jonathan Rosenbaum says the dialogue in
754:(1960) and their related issues. Jonathan Rosenbaum writes, for example, that these films examine "notions of the camera as a probing instrument, especially in relation to voyeurism and other forms of aggressive sexual appropriation as well as self-scrutiny." Other critics note the public-private irony of fashion model Penny being unwilling to appear in David's film; or that David is "naked to everyone, but invisible to himself."
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increasingly obsessed with filming Penny, without her permission, and even once when she's sleeping in the nude. In that particular moment, she wakes up and attacks him for this transgression, and breaks up with him; this is followed by several failed attempts to contact her, and his monologue praising masturbation. David also repeatedly films through the window of a woman across the street, whom he nicknames
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the lives of others, unfortunately often negatively. Film critic Chuck
Kraemer captures some of this complexity when he writes that David is, "every down-and-out filmmaker struggling for a vision, every sensitive New Yorker overwhelmed by the city's visual fecundity, every young man suffering lost love, every inchoate artist trying to sort out his life, to explain himself to himself, and to the world."
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countering a documentary tradition in which human beings were primarily used to illustrate various social themes." Filmmakers including
Richard Leacock, D.A. Pennebaker, Andrew Noren, and the Maysles brothers. Regarding the extent to which his film mocks such filmmakers, McBride says he was not criticizing specific works or people; instead, he was jabbing at ideas—popular ideas about film and truth:
162:. A feature-length film made on a tiny budget over several days, it is a work of experimental fiction presented as an autobiographical documentary. "A self-portrait by a fictional character in a real place—New York's Upper West Side," the film comments on the title character's personality and life as well as on documentary filmmaking and the medium of cinema more generally. In 1991,
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precursor of sorts to the 21st century phenomenon of YouTube vloggers who chronicle their lives to varying degrees of mundane detail, seeking to pull viewers into whatever fascinating experiences or excruciating dilemmas they think would hold their attention. Obviously, a lot has happened in the realm of personal public self-disclosure on film and video between 1967 and now."
451:. Regarding the MoMA screening, L. M. Kit Carson said the museum, "was not happy that we did not make the contracted book," until the film won awards at festivals. "Then the Museum arranged for a high-profile Special Screening of the mock-doc – the beginning of a film-series called CINEPROBE" and then added the film to its collection.
191:, he says he has decided to make a video diary to try to document and understand his life. After this introduction, what follows is a series of filmed diary entries that David makes over a period of several days, depicting his daily life, his surroundings, and his most personal thoughts and feelings.
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sometimes refer to how technology and culture have evolved since the 1960s, further blurring boundaries between private and public. For example, David
Blakeslee writes that when he watched the film recently on the Vimeo website, he knew practically nothing about it, except that "it could be seen as a
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depicts complicated relations between art and life; how David's life motivates and shapes his art, and vice versa. How his social life, his daily life at home, his background in film—all shape his artistic energy and choices, with various affects. And, vice versa, how David's art shapes his life, and
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As soon as you start filming something, whatever happens in front of the camera is not reality any more. It becomes a work of art ... And you stop living somehow. And you get very self-conscious about anything you do. 'Should I put my hand here?' ... 'Should I place myself on this side of the frame?'
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Halfway through the book-writing, McBride says to me: "There is no Truth on Film. Basically as soon as you turn the camera on – everything changes – to not real – gets like unreal." So we decide it's more quote/unquote "un-truth-ful" to write this book – we decide not to write this book. We take the
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In some scenes, David goes around filming his neighborhood, from various people and historical buildings to spontaneous moments such as police officers helping an apparent robbery victim. This video is sometimes silent and at other times accompanied by dialogue or ambient sound, or sound that he may
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For David, art and life are fused in New York film culture. He is deeply immersed in films, constantly thinking about them, watching them, and quoting other people about them. Film is his obsession, but his daily life also includes radio and TV consumption. As Brody writes, David's city life depicts
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When I first got my 8mm sound camera, I'd carry it around like David
Holzman and try to film everything I did and look at it. My friends and I had cameras all the time and we were all film directors. I filmed a whole section of my life—people I was going out with, my friends. I just shot everything.
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gradually became "a classic, shown in university classes and film classes" for reasons including its engagement with film theory and practice. In terms of film practice, it shows a young man using various newly available film technologies and innovative techniques, including "static long takes with
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There was this general feeling or idea that there was this kind of truth that could be revealed that had never been revealed before. This was very enticing to me, but at the same time it was also silly, the idea that there is some kind of objective truth that can be revealed. And so I got this idea
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David begins his diary by quoting Godard's famous statement that the medium of cinema is "truth twenty-four times a second." However, as Edward
Copeland has observed, David does not mention that Godard's full quote ends with, "and every cut is a lie." Many writers have discussed the implications of
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It's kind of a complicated process, but we would go out and shoot something for somebody and if he had to shoot something on the following Monday, say, we'd keep the equipment over the weekend. So Mike's idea was, this movie you want to make, why don't we just use this free equipment we have on the
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David's life is shaped by images and popular culture, but he is not simply a passive consumer. He is an energetic and creative young filmmaker. Making films takes up a lot of his time, and affects his life, and those of other people, in various ways, not always with good results. While making his
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Further blurring lines between fiction and fact, this film explores how, even in actual documentaries, truth can be manipulated—consciously or unconsciously—before, during, and after filming. Vincent Canby wrote that the film "highlights questions we all have about the quality of truth that can be
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The choice of the Upper West Side location for the film came from McBride's own life experience: "I was born and raised there and I still lived there, not with my parents but I still lived in the neighborhood long after I left home and so these were the streets that I walked, these were the things
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Most often in the film, David sits at home talking to his
Lavalier microphone and 16mm Éclair camera about topics important to him, from film theory to his girlfriend Penny, who is a fashion model. Over the several days of making his diary, and maybe following some of Pepe's advice, David becomes
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L. M. Kit Carson plays David, a young white man living alone in his modest studio apartment on
Manhattan's West 71st Street during July 1967. The film begins without the conventional opening credits or music that would signify a professionally made documentary or fiction film. Instead, it's just
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was made by a small group of young and virtually unknown people who mostly continued to be unknown. This was the feature film debut for McBride and Carson; both of them continued to work over the years together or separately on some film and TV projects. Carson worked as a writer on the 1984 film
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David's diary project hits bottom after he leaves town for a day, to attend a family funeral, and returns to find all of his film equipment stolen. He reveals this in his last diary entry, which combines an audio recording of his voice with a series of photos David made of himself with rented or
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of documentary filmmaking, namely "the inevitable effect of the presence of an observer on the behavior of the observed." For better or worse, consciously or not, overtly or subtly, people often play to the camera, behaving differently than they otherwise would. Nowhere in this film is this more
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would be remembered as "the underground autobiographical cinema verité film of the sixties," and that "scholars of the nineties will revere it." Since then, the film has remained obscure to the general public while developing and maintaining a strong critical reputation, such that its ratings on
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This film's engagement with fact vs. fiction elicited some of its earliest and strongest critical reactions, namely from audience members who felt duped; angry that they were led to believe that David Holzman was an actual person and the film was a documentary. Viewers at the Flaherty Seminar
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as a satire of documentary films or filmmakers. For example, that the film "takes funny jabs" at the self-importance or seriousness of practitioners of the new "personal cinema." These were filmmakers who "established a new relationship with their subjects: intimate, revelatory and personal,
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takes a sudden unexpected turn. It displays a title card (still no sound) saying simply "DAVID HOLZMAN'S DIARY," followed by another card identifying L.M. Kit Carson as the actor playing him. Then some cards for the rest of the cast and the crew. The cards effectively acknowledge that the
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All this shock and anger may seem to be overreacting, but the film touched a nerve by being so convincing and waiting until the latest possible moment to reveal that it was all staged. The film was so convincing due to many techniques, including its consistent use of mobile camera and sound
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One key part of this film's engagement with art and life is its depiction of relations between public and private, relations that are gendered. As James Latham writes, David uses his film project partly to assert power over women; to spy on them, stalk them, and record them with or without
501:-like views of everyday grotesquerie." It shows David using these techniques in making a diary film, a format that is technically simple and affordable—a natural option for young creative filmmakers with limited resources. One such young filmmaker at the time was
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that were unusual at the time but have become more common, such as the direct address by characters to the camera, or the creative use of end credit sequences, usually in the form of entertaining behind-the-scenes outtakes captured while making fiction films.
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describes the film as, "One of cinema's most pointed statements about the impossibility of objectivity in film." Similarly, Justin Stewart calls the film "a hoaxed blast of 'reality' whose main subject is the impossibility of objective documentation."
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as Lulu. This is what David refers to in the beginning of his film when he cites "the famous Lulu's diary" as an inspiration for his work. Jaime N. Christley notes some other cinematic influences, saying that, "the real point of origin is either
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captured by the cinema verité camera," and about the "awful possibilities for distortion" via the editing process. In his critical monologue within the film, Pepe speaks to how the act of filming can change what's being filmed:
547:. Film critics, scholars, and fans also have written a lot about various aspects of the film, mostly its complicated relations between fact and fiction; between art and life; and between the public and private spheres.
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borrowed equipment. Disappointed and disillusioned, he says that this is the end of the film. The sound then stops and the image goes black for about ten seconds, seemingly the end of this diary film. But then
350:, was about this guy who makes a diary of his own life to try to find some truth that he can't perceive in real time. It was meant to be kind of an ironical formula, let's say, to explore a lot of those ideas.
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stands as one of the few American equivalents to the work which Godard was doing at the time." The French New Wave clearly was an inspiration for this film, but there were others as well. One influence was
361:, intended for him and McBride to research and write a book on cinema verité. After conducting several filmmaker interviews, they changed their minds and decided to do something better with the money:
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David at home saying plainly that he has recently lost his job and may soon be drafted into the military and sent to Vietnam. He does not identify the job in question, but his apartment décor and
294:, a book published in 1905 as a supposedly authentic diary of a prostitute named Thymian, but actually written by its "editor," Margarete Böhme; it was later adapted into a popular 1929 German
409:, and not simply as its cinematographer. According to McBride, Wadleigh was doing commercial work at the time, and took creative advantage of that situation to get resources for their film:
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weekends and shoot stuff. So that's what we did. We used leftover film stock. To process the film we would go to the lab under the aegis of some other project we were working on.
366:$ 2,500.00 book-advance – and over the 10-day Easter Break from college – we make a cinema-verite mock-documentary – we figure it's the strongest way to question cinema-verite:
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215:. And, in another scene, he follows an anonymous woman out of the subway and onto the street, quietly stalking her until she turns around and tells him, "Beat it!"
285:." Jaime Wolf writes that, "At once a fictional narrative within a recognizable documentary setting and a kind of essay on the conditions of filmmaking,
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Film critic Richard Brody writes that, "This ingenious, scruffy 1967 metafiction by Jim McBride is an exotic fruit grown in New York from the seed of the
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Latham, James (Summer 2007). "'Your Life is Not a Very Good Script': David Holzman's Diary and Documentary Expression in Late-1960s America and Beyond".
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Latham, James (Summer 2007). "'Your Life is Not a Very Good Script': David Holzman's Diary and Documentary Expression in Late-1960s America and Beyond".
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Latham, James (Summer 2007). "'Your Life is Not a Very Good Script': David Holzman's Diary and Documentary Expression in Late-1960s America and Beyond".
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466:, for being "culturally, historically, or aesthetically significant." It has since had varying distribution on videotape, laserdisc, DVD, and online.
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was filmed in about a week with borrowed equipment and a mere $ 2,500 budget. According to L.M. Kit Carson, the money came from a book advance from
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essay by Daniel Eagan in America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, A&C Black, 2010
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website says that "this provocative, endlessly self-conscious film today stands as one of the best independent films of the 1960s."
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was not distributed theatrically. However, it had early successes at film festivals, cinema clubs, and museums. It screened at the
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to make a film about a guy who thought he could find out the truth about himself and about his life by filming it, and not succeed.
326:, depending on where you draw the fault lines." James McBride identified his more immediate American context for making the film:
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personality imply that it may have involved film. Sitting on a chair with film equipment and posters behind him, and quoting
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1635:"The Dull and the Zippy David Holzman's Diary at Lowell Dining Hall, 8 p.m. Saturday and Dunster Dining Hall, 8 p.m. Sunday"
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likewise lauds the film for being "unafraid to present and implicitly criticize the more unpleasant sides of its 'hero.'"
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for truth beyond the area of documentary film—for cinema and photographic media more generally. Emanuel Levy writes that
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827:. Michael Wadleigh directed and was a cinematographer and writer for the Oscar-winning 1970 concert documentary
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sometimes group the film with subsequent fiction films that likewise posed as documentaries, including
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1332:"Hope for Film: David Holzman Was So Far Ahead Of The Parade You Might Have Missed He Was Leading It"
1145:"Hope for Film: David Holzman Was So Far Ahead Of The Parade You Might Have Missed He Was Leading It"
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monologues; extended passages of black screen; fish-eye distortions; lateral travellings that offer
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is one underground filmmaker from this time and place who had a lot of such nudity in his films.)
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Canby, Vincent (9 December 1973). "Your Life Might Make a Good—or Bad—Movie". The New York Times.
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2211:"David Holzman's Diary/My Girlfriend's Wedding: Historical Artifacts of the Past and Present"
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1202:"David Holzman's Diary/My Girlfriend's Wedding: Historical Artifacts of the Past and Present"
1176:"David Holzman's Diary/My Girlfriend's Wedding: Historical Artifacts of the Past and Present"
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1818:"David Holzman's Diary (1968): Jim McBride's Impressive Directing Debut Starring Kit Carson"
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1472:"David Holzman's Diary (1968): Jim McBride's Impressive Directing Debut Starring Kit Carson"
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has been referenced directly or indirectly in subsequent films including the 1969 drama
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And your decisions stop being moral decisions, and they become aesthetical decisions.
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Earlier in the 1960s, McBride had attended NYU's film school, in the same class as
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is an example of "the impossibility of achieving complete objectivity on screen."
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are 91% approval among critics and 76% approval among audiences. Likewise, the
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preceding was a work of fiction posing as an autobiographical documentary.
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Kraemer, Chuck (14 March 1973). "David Holzman's Diary". The Real Paper.
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Kraemer, Chuck (14 March 1973). "David Holzman's Diary". The Real Paper.
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A highly unconventional film made completely outside the studio system,
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was included in the annual selection of 25 motion pictures added to the
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that I saw. was kind of my world and I wanted to share a little bit."
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858:"Screen:' David Holzman Diary' Spoofs Cinema Verite (Published 1973)"
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McBride, James (September 1987). "Dialogue on Film: Jim McBride".
1550:"Diary on David Holzman, Part 1: The Sons and Daughters of David"
666:. Other writings from recent years cite filmmaking techniques in
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Richard Brody's take on the 1967 cult classic at The New Yorker
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1572:"Diary on David Holzman, Part 2: Getting to the "Real" Stuff"
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1228:"Diary on David Holzman, Part 2: Getting to the "Real" Stuff"
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The entire movie officially posted by Kino Lorber on YouTube
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Additional Photography – Paul Goldsmith and Paul Glickman
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Many writers have noted the film's clear references to
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712:, and a talk show; and then a late-night airing of the
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1074:"A Lost Girl, a Fake Diary, and a Forgotten Author"
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510:I directed the scenes, too. And it all came from
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944:"U.S. FILM REGISTRY ADDS 25 'SIGNIFICANT' MOVIES"
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573:Putting this differently, Jaime Wolf writes that
492:After its initial years on the festival circuit,
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405:." It turns out that Wadleigh was key to making
1596:. New York: W.W. Norton & Co. p. 483.
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316:(which won the documentary Oscar for 1967) or
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1695:Crafting Truth: Documentary Form and Meaning
1680:Crafting Truth: Documentary Form and Meaning
2486:United States National Film Registry films
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1693:Spence, Louise; Navarro, Vinicius (2011).
1678:Spence, Louise; Navarro, Vinicius (2011).
918:"DVD of the Week: 'David Holzman's Diary'"
458:was selected for preservation in the U.S.
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1745:Carson, L.M. Kit (1969). "A Voice-Over".
1659:Carson, L.M. Kit (1969). "A Voice-Over".
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968:"Complete National Film Registry Listing"
1912:"Amusing cinéma vérité faux documentary"
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2209:Rosenbaum, Jonathan (14 October 2006).
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1682:. Rutgers University Press. p. 31.
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2254:Blakeslee, David (28 September 2015).
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2082:Blakeslee, David (28 September 2015).
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1633:Kaplan, Martin H. (19 February 1971).
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1498:"David Holzman's Diary by Jim McBride"
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770:Typical for a small independent film,
654:." Jaime N. Christley groups it with
474:In 1973, Chuck Kraemer predicted that
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2228:Christley, Jaime N. (13 June 2011).
2101:Christley, Jaime N. (13 June 2011).
2019:Christley, Jaime N. (13 June 2011).
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1098:Christley, Jaime N. (13 June 2011).
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734:Relations Between Public and Private
1967:Stewart, Justin (31 January 2013).
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1304:Stewart, Justin (31 January 2013).
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1252:Stewart, Justin (31 January 2013).
330:I entered the world of movies when
251:Sandra's Boyfriend – Michael Levine
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1524:"Guilty Pleasures: Brian De Palma"
1072:Gladysz, Thomas (26 August 2010).
679:Many writers have noted ways that
551:Relations Between Fact and Fiction
248:Woman on the subway – Fern McBride
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2056:Brody, Richard (26 August 2016).
1790:Copeland, Edward (29 July 2011).
1522:De Palma, Brian (May–June 1987).
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1020:Brody, Richard (26 August 2016).
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1910:Schwartz, Dennis (5 July 2011).
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1330:Carson, L.M. Kit (7 June 2011).
1143:Carson, L.M. Kit (7 June 2011).
991:Mekas, Jonas (15 January 1970).
942:Kehr, Dave (26 September 1991).
694:newscast; then from episodes of
583:Heisenberg Uncertainty Principle
254:Max (Penny's agent) – Bob Lesser
233:David Holzman – L. M. Kit Carson
227:
2247:
2221:
2202:
2183:
2164:
2145:
2120:
2094:
2075:
2058:"Movies: David Holzman's Diary"
2049:
2038:
2012:
1986:
1960:
1941:Wolf, Jaime (26 October 1994).
1934:
1903:
1877:
1852:
1809:
1783:
1764:Wolf, Jaime (26 October 1994).
1757:
1738:
1719:Wolf, Jaime (26 October 1994).
1712:
1701:
1686:
1671:
1652:
1626:
1607:Wolf, Jaime (26 October 1994).
1600:
1585:
1563:
1541:
1515:
1489:
1463:
1438:
1413:
1402:
1391:
1380:
1363:"National Film Registry Titles"
1354:
1323:
1297:
1271:
1245:
1219:
1193:
1167:
1136:
1117:
1091:
1046:Wolf, Jaime (26 October 1994).
1022:"Movies: David Holzman's Diary"
916:Brody, Richard (2 April 2013).
644:as, "much more convincing than
422:
207:, after the title character in
2481:American black-and-white films
2256:"David Holzmans' Diary (1967)"
2084:"David Holzmans' Diary (1967)"
1570:Lee, Kevin B. (13 June 2011).
1548:Lee, Kevin B. (13 June 2011).
1226:B. Lee, Kevin (13 June 2011).
1065:
1039:
1013:
984:
960:
935:
909:
893:The Film Director as Superstar
882:
849:
675:Relations Between Art and Life
449:Whitney Museum of American Art
394:Who's That Knocking at My Door
1:
2501:Films directed by Jim McBride
1816:Levy, Emanuel (12 May 2012).
842:
276:
262:Writer-Director – Jim McBride
2521:1960s English-language films
2511:1968 directorial debut films
791:. McBride directed the 1987
765:
606:Many writers have described
539:, and the 2002 comedy short
7:
2506:American mockumentary films
2448:Meat Loaf: To Hell and Back
1592:Jacobs, Lewis, ed. (1968).
1496:Martin, Adrian (May 2003).
437:San Francisco Film Festival
177:
10:
2547:
2496:American docufiction films
1796:Edward Copeland's Tangents
856:Sayre, Nora (1973-12-07).
663:Exit Through the Gift Shop
527:, the 1974 comedy feature
2370:
2285:David Holzman's Diary
1916:Ozus' World Movie Reviews
1594:The Documentary Tradition
897:. Garden City, New York:
577:applies what film critic
131:
123:
115:
105:
82:
72:
64:
54:
44:
36:
26:
21:
1969:"Interview: Jim McBride"
1947:The Criterion Collection
1886:"Interview: Jim McBride"
1770:The Criterion Collection
1725:The Criterion Collection
1613:The Criterion Collection
1306:"Interview: Jim McBride"
1280:"Interview: Jim McBride"
1254:"Interview: Jim McBride"
1052:The Criterion Collection
757:More recent writings on
620:More recent writings on
533:, the 2001 comedy-drama
439:, and won awards at the
359:The Museum of Modern Art
292:The Diary of a Lost Girl
2230:"David Holzman's Diary"
2128:"David Holzman's Diary"
2103:"David Holzman's Diary"
2021:"David Holzman's Diary"
1995:"David Holzman's Diary"
1943:"David Holzman's Diary"
1860:"David Holzman's Diary"
1766:"David Holzman's Diary"
1721:"David Holzman's Diary"
1609:"David Holzman's Diary"
1446:"David Holzman's Diary"
1421:"David Holzman's Diary"
1100:"David Holzman's Diary"
1048:"David Holzman's Diary"
889:Gelmis, Joseph (1970).
691:Huntley-Brinkley Report
627:The Blair Witch Project
1840:Cite journal requires
1747:Film Library Quarterly
1661:Film Library Quarterly
1398:Kino Lorber Home Video
781:and on McBride's 1983
640:. Dave Kehr describes
618:
571:
545:Diary of David Holzman
516:
460:National Film Registry
433:New York Film Festival
416:
371:
368:David Holzman's Diary.
352:
245:Sandra – Louise Levine
168:National Film Registry
2376:David Holzman's Diary
2306:David Holzman's Diary
2296:David Holzman's Diary
2260:Criterion Reflections
2215:JonathanRosenbaum.net
2088:Criterion Reflections
1206:JonathanRosenbaum.net
1200:Rosenbaum, Jonathan.
1180:JonathanRosenbaum.net
1174:Rosenbaum, Jonathan.
772:David Holzman's Diary
759:David Holzman's Diary
681:David Holzman's Diary
668:David Holzman's Diary
642:David Holzman's Diary
622:David Holzman's Diary
613:
608:David Holzman's Diary
596:David Holzman's Diary
592:David Holzman's Diary
575:David Holzman's Diary
566:
519:David Holzman's Diary
512:David Holzman's Diary
507:
494:David Holzman's Diary
476:David Holzman's Diary
456:David Holzman's Diary
429:David Holzman's Diary
411:
407:David Holzman's Diary
399:David Holzman's Diary
391:. "When he was doing
382:David Holzman's Diary
374:David Holzman's Diary
363:
355:David Holzman's Diary
348:David Holzman's Diary
328:
287:David Holzman's Diary
221:David Holzman's Diary
164:David Holzman's Diary
143:David Holzman's Diary
22:David Holzman's Diary
2531:Self-reflexive films
2526:1960s American films
2408:Great Balls of Fire!
812:Great Balls of Fire!
709:The Dean Martin Show
470:Reception and legacy
378:guerrilla filmmaking
1639:The Harvard Crimson
1078:The Huffington Post
993:"Kodak Ghost Poems"
972:Library of Congress
464:Library of Congress
242:Pepe – Lorenzo Mans
172:Library of Congress
146:is a 1967 American
2362:Films directed by
948:chicagotribune.com
862:The New York Times
637:This is Spinal Tap
323:Land Without Bread
16:1967 American film
2516:1968 comedy films
2491:1967 comedy films
2458:
2457:
1922:on 29 August 2018
1000:The Village Voice
632:Christopher Guest
581:described as the
505:, who said that:
139:
138:
2538:
2356:
2349:
2342:
2333:
2332:
2316:, pages 619-620
2271:
2270:
2268:
2266:
2251:
2245:
2244:
2242:
2240:
2225:
2219:
2218:
2206:
2200:
2199:
2187:
2181:
2180:
2168:
2162:
2161:
2149:
2143:
2142:
2140:
2138:
2124:
2118:
2117:
2115:
2113:
2098:
2092:
2091:
2079:
2073:
2072:
2070:
2068:
2053:
2047:
2046:
2042:
2036:
2035:
2033:
2031:
2016:
2010:
2009:
2007:
2005:
1990:
1984:
1983:
1981:
1979:
1964:
1958:
1957:
1955:
1953:
1938:
1932:
1931:
1929:
1927:
1918:. Archived from
1907:
1901:
1900:
1898:
1896:
1881:
1875:
1874:
1872:
1870:
1856:
1850:
1849:
1843:
1838:
1836:
1828:
1826:
1824:
1813:
1807:
1806:
1804:
1802:
1787:
1781:
1780:
1778:
1776:
1761:
1755:
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1742:
1736:
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1733:
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1716:
1710:
1709:
1705:
1699:
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1690:
1684:
1683:
1675:
1669:
1668:
1656:
1650:
1649:
1647:
1645:
1630:
1624:
1623:
1621:
1619:
1604:
1598:
1597:
1589:
1583:
1582:
1580:
1578:
1567:
1561:
1560:
1558:
1556:
1545:
1539:
1538:
1536:
1534:
1519:
1513:
1512:
1510:
1508:
1493:
1487:
1486:
1484:
1482:
1467:
1461:
1460:
1458:
1456:
1442:
1436:
1435:
1433:
1431:
1417:
1411:
1410:
1406:
1400:
1395:
1389:
1384:
1378:
1377:
1375:
1373:
1358:
1352:
1351:
1349:
1347:
1338:. Archived from
1327:
1321:
1320:
1318:
1316:
1301:
1295:
1294:
1292:
1290:
1275:
1269:
1268:
1266:
1264:
1249:
1243:
1242:
1240:
1238:
1223:
1217:
1216:
1214:
1212:
1197:
1191:
1190:
1188:
1186:
1171:
1165:
1164:
1162:
1160:
1151:. Archived from
1140:
1134:
1133:
1121:
1115:
1114:
1112:
1110:
1095:
1089:
1088:
1086:
1084:
1069:
1063:
1062:
1060:
1058:
1043:
1037:
1036:
1034:
1032:
1017:
1011:
1010:
1008:
1006:
997:
988:
982:
981:
979:
978:
964:
958:
957:
955:
954:
939:
933:
932:
930:
928:
913:
907:
906:
896:
886:
880:
879:
877:
876:
853:
824:The Wonder Years
403:Michael Wadleigh
397:and I was doing
344:D. A. Pennebaker
336:Maysles brothers
257:Cop – Jack Baran
209:Luchino Visconti
160:L. M. Kit Carson
98:
96:
77:New Yorker Films
68:Michael Wadleigh
59:L. M. Kit Carson
49:Michael Wadleigh
19:
18:
2546:
2545:
2541:
2540:
2539:
2537:
2536:
2535:
2461:
2460:
2459:
2454:
2366:
2360:
2301:Rotten Tomatoes
2280:
2275:
2274:
2264:
2262:
2252:
2248:
2238:
2236:
2226:
2222:
2207:
2203:
2188:
2184:
2169:
2165:
2150:
2146:
2136:
2134:
2126:
2125:
2121:
2111:
2109:
2099:
2095:
2080:
2076:
2066:
2064:
2054:
2050:
2043:
2039:
2029:
2027:
2017:
2013:
2003:
2001:
1991:
1987:
1977:
1975:
1965:
1961:
1951:
1949:
1939:
1935:
1925:
1923:
1908:
1904:
1894:
1892:
1882:
1878:
1868:
1866:
1858:
1857:
1853:
1841:
1839:
1830:
1829:
1822:
1820:
1814:
1810:
1800:
1798:
1792:"Mock 'n' Roll"
1788:
1784:
1774:
1772:
1762:
1758:
1743:
1739:
1729:
1727:
1717:
1713:
1706:
1702:
1691:
1687:
1676:
1672:
1657:
1653:
1643:
1641:
1631:
1627:
1617:
1615:
1605:
1601:
1590:
1586:
1576:
1574:
1568:
1564:
1554:
1552:
1546:
1542:
1532:
1530:
1520:
1516:
1506:
1504:
1494:
1490:
1480:
1478:
1476:EmanuelLevy.com
1470:Levy, Emanuel.
1468:
1464:
1454:
1452:
1444:
1443:
1439:
1429:
1427:
1425:Rotten Tomatoes
1419:
1418:
1414:
1407:
1403:
1396:
1392:
1385:
1381:
1371:
1369:
1359:
1355:
1345:
1343:
1342:on 11 June 2011
1328:
1324:
1314:
1312:
1302:
1298:
1288:
1286:
1276:
1272:
1262:
1260:
1250:
1246:
1236:
1234:
1224:
1220:
1210:
1208:
1198:
1194:
1184:
1182:
1172:
1168:
1158:
1156:
1155:on 11 June 2011
1141:
1137:
1122:
1118:
1108:
1106:
1096:
1092:
1082:
1080:
1070:
1066:
1056:
1054:
1044:
1040:
1030:
1028:
1018:
1014:
1004:
1002:
995:
989:
985:
976:
974:
966:
965:
961:
952:
950:
940:
936:
926:
924:
914:
910:
887:
883:
874:
872:
854:
850:
845:
805:Jerry Lee Lewis
768:
736:
677:
553:
481:Rotten Tomatoes
472:
425:
389:Martin Scorsese
340:Richard Leacock
283:French New Wave
279:
230:
189:Jean-Luc Godard
180:
108:
101:
94:
92:
85:
17:
12:
11:
5:
2544:
2534:
2533:
2528:
2523:
2518:
2513:
2508:
2503:
2498:
2493:
2488:
2483:
2478:
2473:
2456:
2455:
2453:
2452:
2444:
2436:
2428:
2420:
2412:
2404:
2396:
2388:
2384:Glen and Randa
2380:
2371:
2368:
2367:
2359:
2358:
2351:
2344:
2336:
2330:
2329:
2324:
2319:
2303:
2292:
2279:
2278:External links
2276:
2273:
2272:
2246:
2220:
2201:
2182:
2163:
2144:
2119:
2093:
2074:
2062:The New Yorker
2048:
2037:
2011:
1999:Chicago Reader
1985:
1959:
1933:
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1876:
1851:
1842:|journal=
1808:
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1116:
1090:
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1038:
1026:The New Yorker
1012:
983:
959:
934:
922:The New Yorker
908:
881:
847:
846:
844:
841:
818:Six Feet Under
767:
764:
735:
732:
714:Shirley Temple
676:
673:
552:
549:
503:Brian De Palma
471:
468:
424:
421:
334:work like the
278:
275:
274:
273:
270:
269:(now Wadleigh)
267:Michael Wadley
263:
259:
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154:, directed by
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65:Cinematography
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2440:The Informant
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2429:
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2425:
2424:The Wrong Man
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1499:
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1477:
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1203:
1196:
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1127:
1126:American Film
1120:
1105:
1101:
1094:
1079:
1075:
1068:
1053:
1049:
1042:
1027:
1023:
1016:
1001:
994:
987:
973:
969:
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949:
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923:
919:
912:
904:
900:
895:
894:
885:
871:
867:
863:
859:
852:
848:
840:
838:
837:
832:
831:
826:
825:
820:
819:
814:
813:
809:
806:
803:and the 1989
802:
801:
797:
796:neo-noir film
794:
790:
789:
784:
780:
779:
773:
763:
760:
755:
753:
752:
747:
746:
740:
731:
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723:
721:
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711:
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699:
698:
693:
692:
685:
682:
672:
669:
665:
664:
659:
658:
653:
652:
647:
643:
639:
638:
633:
630:and films by
629:
628:
623:
617:
612:
609:
604:
601:
597:
593:
587:
584:
580:
579:Andrew Sarris
576:
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548:
546:
542:
538:
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531:
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379:
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362:
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349:
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341:
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332:cinema vérité
327:
325:
324:
319:
315:
314:
310:
306:
305:Peter Watkins
301:
300:Louise Brooks
297:
293:
288:
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236:Penny Wohl –
235:
232:
231:
228:Cast and crew
225:
222:
216:
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211:'s eponymous
210:
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175:
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158:and starring
157:
156:James McBride
153:
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