| Summary: | The reflections about direct cinema presented here revolve aroundthe following question: how to account for the fact that the movement which encouraged the filmmakers of a certain age to reject the aesthetics of stylization that founded the dramatic arts, allow us to understand, on the one hand, some of the reasons that led the authors to seek different ways followed by other filmmakers and how, on the other hand, these same reasons hardly give account of the route followed by these authors and the bases of their originality? This is the question that seeks to provide a response through the analysis of three major documentary filmmakers: Dziga Vertov, Robert Flaherty and Jean Vigo. In a second stage, based on the concept of cinétranse developed by Jean Rouch, a rationalist methodology to direct film is opposed to an empirical methodology.
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